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The Blue Book of
Men's Tailoring
 Copyright

CROONBORG SARTORIAL CO.

New York-Chicago
1907

II
IV
 GR^Miy EBITIOH
°/

SUPREME SYSTEM
FOR. PR.ODUCING
MEN'S GARMENTS

SCIENCE

By
Frederick T. Croonborg

Published by the

CROONBORG S^RTORIJiL CO,

1181-83 Broadway 183-189 Dearborn St.
NEW YORK CHICAGO
 LIBRARY of CONGRESS
Two Cooles Received
JUL 9 190?
yj OooyiirM Entry
ytCL^f 6'./ 907
^LASS 'a. XXC, NO.

COPY B.

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 Introduction
When Eve, in the Garden of Eden, fashioned the first garment worn by one of the human race,

there is no doubt that in weaving the leaves together she used some method which was to her mind
the best way to produce the apron which was the progenitor of the multitude of garments which have

followed it.

Ever since the earliest times there have been "systems" in cutting, and the brightest minds, the

most earnest students of the centuries have devoted their energies to finding a set of mathematical

rules which would produce, for the making of garments and the fitting of the human form, an infalli-

ble method.

For the foundation of the science of garment cutting some sort of a system is necessary. The
human body follows approximately the same lines, even when the variations of stature and curva-

ture are extreme, and the average proportions of the different members may be reduced to a set of

tables which will serve as a ground work on which to erect the superstructure which produces the

perfect garment.

In so many years of study there have been evolved many different methods whose goal was the

same. Most cutters are firmly wedded to the arrangement which has secured for them the result

they aim to achieve, and would in many cases destroy any other. Every one praises the bridge that
supports him over the stream although there may be many weak points in it which would not bear
the weight of others.

The originator of a system of garment cutting, through the very study to prepare himself and

the observation and trial to which he must subject his system, is eminently qualified to judge of the

strong and weak points of any method, and if the personal element and the just pride in his own
work could be eliminated, would usually be an impartial critic. But this is too much to expect from

a mortal.

Every system has its strong points, each its weak ones.

The earnest pioneers in the science, who gave their best thought and work for the benefit of

succeeding generations, are worthy of all honor, and to each student who has discovered a new and
easier way to do a hard thing due credit should be given.

The object of this work is, therefore, not to condemn previous efforts, but rather to acknowledge

their value as pioneers, enabling others to take up the science where they left off, and thus, building

block by block, the edifice will in the end be a beautiful and worthy one.

If all men were cast in one mold, or if all were clothed with the same material, it would be
easy to produce an ideal system, by which a cutter could with his square and tape line, following

exact mathematical rules, construct garments which would be absolutely satisfactory to his customer.

But as men are of different minds, of varying proportions, and choose to clothe themselves in a
diversity of materials, the author by a simple system has laid the foundation which produces a gar-

ment for the normal male figure, then shows how his pattern may be changed to meet the requirements

of taller or shorter, larger or smaller than the average, or to cover defects of figure.

Theory Justified
We have heard of good as well as bad cutters.

We have seen two persons working at the same cutting board with entirely different results.

We have seen proportions used with good effect where direct measures have failed, and vice versa.

We have seen cutters using long measures who were fairly successful, when others were absolute

failures.

Yet in response to all inquiries as to the reason for these varying observations the answer is

be sure to obtain proper balance in the garment. This will rectify the greater portion of the errors.

Balance in garments seems to be the great center for arguments and theories in this profession

and the diversity and confusion of ideas in this respect is astonishing. Therefore, it is a positive fact,

as well as a necessity, that a cutter should thoroughly understand the scientific part of garment

cutting as well as the artistic.

Science and Jirt

In going down to the root of these two words, we find that Science means knowing, while Art

is simply doing. Art is the work or task, while Science is that which guides and regulates the work.

Science shows us how things should be done and why they should be done. Science illustrates to us

cause and effect (variations), and Science is, therefore, the fundamental part of garment cutting. Art

can only reach excellence as a product of Science, and there is no true Art without the proper exer-

cise of Science. Consequently, Art is doing; Science is knowing how. We cannot do things unless

we know how to do them. Therefore, the secret of high achievements is to be found in Science or

system.

The Supreme System

The Supreme System is based on the above stated principles, and is composed of Proportions

and Variations (Science) coupled with a methodical way of taking and applying direct measures.

Short or direct measures belong to the artistic part of our work for the reason that measures are

more or less subject to judgment and anything that is a matter of judgment should be classed with

the artistic part.

Proportions
Artists and painters always require a model from which to draw the fundamental part of their

product. This is also true in Sartorial Art, and the ideal model for Supreme proportions is that of

an Apollo, 5 feet 8 inches in height, weighing 135 pounds, which practice has demonstrated will

measure 36 inches around breast. Furthermore, this subject is absolutely normal in every respect,

including shoulder, circumference, etc. Therefore, in selecting a model for practice we choose the
 Contents.

Page. Page.
INTRODUCTION 1 Hunchback, 60 ; Diagram 61
Theory Justified 2 Overcoat, Fashion, Description 62
Science and Art 2 Overcoat, Fashion, Illustration 63
Supreme System 2 Box Overcoat, E.xaggerated, Single and Double
Proportions 2 Breasted, 64 Diagram ; 65
Height 3 Overcoat, Single Breasted, Newmarket 66
Circumference 3 Overcoat, Double Breasted Surtout 67
Exaggerations 3 Overcoat, Inverness, 68 Diagram ; 69
Variations 4 Full Dress, Fashion, Description 70
Direct Measurements 4 Full Dress Fashions, illustration 71
Block Patterns 6 Full Dress Coat 72
Individuality 6 Full Dress Coat without strap and lapel seam,
Fashions 6 72 Diagram
; 73
THE SQUARE 7 Tuxedo, or Dinner Coat, Fashion, 74; Diagram. 75 .

Diagram of the Square 9 Cassock, 76 Diagram

; 77
The Tester 8 Direct Measures from Heights and Circumfer-
ence, Proportionate Table 78
Theories and Practice 79
THE SYSTEM.
How to Measure, 12 ; Diagrams 13
VEST SECTION— 81-91.
Sack Coats, Description 14
Sack Coat, Fashion Plate 15 Front lengths for Vests, Proportionate Table.. 82
Sack Coat, Systematical Outline, 16; Diagram.. 17 Waist length of Vests, Proportionate Table. ... 82
Sack Coat, Proportionate, 18; Diagram 19 Vests, Fashion, Description 83
RELATIVE HEIGHTS, 20; Diagram 21 Vests, How to Measure, 84 Diagram ; 85
Breast Measures by Weight and Height, Propor- Vests, Proportionate, Single and Double Breast-
tionate Table 22 ed, 86 Diagram
; 87
Waist Lengths for Coats and Full Length of \^ests for Stout Figure, 88 Diagram ; 89
Coats, Proportionate Table 22 \''ests. Double Breasted, with Lapel Front 90
CIRCUMFERENCE 23 Vests, Full Dress, with small waisted effect. ... 90
Sack Coat for Corpulent Figure, 24; Diagram. 25 .
Vests, Double. Breasted, with separate lapel, 90;
EXAGGERATION, Sack Coat, 26; Diagram.. 27 Diagram 91
Sack Overcoat, Single and Double Breasted, 28 Vests, Clerical 98
Diagram 29
Frock Coats, Single and Double Breasted, Fash-
ions 31 VEST VARIATIONS.
Frock Coat, Outline for Body, 32; Diagram. ... 33
Frock Coat, 3-Button, Single Breasted, 34; Dia- Stooping and Erect 92
gram 3ri Large and Small Blades 93
Frock Coat, Double Breasted, 36; Diagram i7 Sloping and Square Shoulders 94
Frock Coat, Corpulent, 38; Diagram 39 Long and Short Neck 95
Frock Coat for Stout, 40 Diagram; 40 Vests, Notched Collar for Corpulent Figure, 96;
Diagram 97
VARIATIONS.
Definition of Types, Illustrated 41
TROUSERS SECTION—99-124.
Incline 44
Inseam of Trousers, Proportionate Table 100
Head, Forward and Back 45
Rise in Trousers, Proportionate Table 100
Stooping and Erect 46
Trousers, Fashion Illustrations 101
Large and Small Blades 47
Trousers, How to Measure, 102; Diagram 103
Sloping and Square Shoulders 48
Trousers, Proportionate, 104; Diagram 105
Long and Short Neck 49
Trousers, Peg Top 106
Sleeves, Proportionate 50
Trousers, Dress 107
Sleeves, Stooping and Erect 51
Trousers, Corpulent, 108; Diagram 109
Sleeves, High and Low Top bl
Long and Short Front 110
Open and Closed 110
DIRECT MEASURES. Large and Flat Seat Ill
Bow Leg and Knock Knee Ill
Direct Measures, Diagram 53 Combinations of Variations. 112 Diagram ; 113
Application of measurement 55, 56, 57, 58, 59 Combinations of Variations, 114; Diagram 115
 Contents — continued.

Page. INDIVIDUALITY SECTION— 169, 209.

Knickerbockers, with 116; Dia-
Cuff attached, Page.
gram 117
Sack Coat Novelty 170
Riding Breeches, 118 and 120; Diagram 119 and 121
122
Outing Sack Coat, Double Breasted, 172; Dia-
Spring Bottom Trousers
123
gram 173
Broad Falls Novelty Sack Coat, 1-Button, 174; Diagram. . . .175
SpHt Falls 123
Novelty Sack Coat, 3-Button, 176; Diagram. . . .177
Overgaiters 124
Novelty Sack Coat, 3-Button 178
Leggings 124
Manipulation of front for corpulent or stout fig-
MILITARY, LIVERY, SPORTING AND OUT- ure 179
ING GARMENT SECTION— 125, 167. Manipulation of Sack Coat Pattern 180
Flaring of Overcoat 181
UNIFORMS FOR OFFICERS U. S. ARMY. .126 Top Coat, Novelty, 182 Diagram ; 183
Full Dress Coat, Description 126 Box Overcoat, Single Breasted, 184; Diagram.. 185
Dress Coat, Description 128 Fur Coat, 186 Diagram
; 187
Service Coat, Description 128 Manipulation of Overcoat Pattern, 188; Dia-
White Coat, Description . .
130 gram 189
Overcoat, Description 130 Frock Coat, 2-Button Novelty, 190; Diagram. .191 .

Capes, Description 132 Frock Coat, 1-Button Novelty, 192; Diagram. .. 193
Full Dress Trousers, Description 132 Frock Coat, 3-Button Novelty, 194; Diagram. .. 195
Dress Trousers, Description 132 Frock Coat, Double Breasted Novelty, 196; Dia-
White Trousers, Description 132 gram 197
Service Trousers, Description 132 Full Dress Coat, Novelty, 198; Diagram 199
Dress Breeches, Description 132 Newmarket, Double Breasted Novelty, 200; Dia-
Service Breeches, Description 132 gram 201
Evening Uniform, Description 134 Collars and Lapels 202 and 203
Aless Jackets, Description 134 Sleeve Cuffs, Fancy 202 and 203
LTniforms for Enlisted Men, Description 134 Flaring of Skirt, Frock Coat 204
Line Officer Full Dress, Dismounted, Illustra- Vest, Novelty Dress 206
tion 127 Vest, Double Breasted 207
Social Dress Uniform, Illustration 127 Vest, Single Breasted, Novelty 208
Field Officer, Mounted, Illustration 129 Vest, Notched Collar 209
General Officer, Illustration 129 Vest, Full Dress 210
MiHtary Overcoat, Illustration 131 Dress Ethics 211
Military Cape, Illustration 131
Dress Uniform, Illustration 133
CLOTH CUTTING— 213, 220.
Summer Uniform, Illustration 133
Chaplain, Illustration 135 Lay for 3-Button Frock Suit 214
Knight Templar, Illustration 135 Lay for Overcoat -I3
Frock Uniform for Army Officers, Mounted Lay for Sack Suit 21
and Unmounted, 138; Diagram 139 Lay for Stout Men's Sack Suit 215
Military Blouse, 140 Diagram ; 141 Lay for Trousers 216
Military Overcoat, U. S. Army, 142 ; Dia- Lay for Stout Men's Trousers 216
gram 143 Lav for Double Breasted Vest 217
General Officers' Dress Uniform, 144; Dia- Lay for Notched Collar Vest 217
gram 145 Fittings for Sack Coat 218
Circular and Military Capes, 146; Diagram. 147 Fittings for Overcoat 218
Regular Capes, 148 Diagram
; 149 Fittings for Vest 219
Clencal Coat 150 Fittings for Frock Coat 219
Knight Templar Coat, 150; Diagram 151 Fittings for Trousers 219
Coachman's Coat, Single and Double Breasted.
152 Diagram
; ..\ . 153 PRACTICAL TAILORING— 221.
Footman's Coat, 154 Diagram ; 155
Automobile Ulster, 156; Diagram 157 How to Make a Try-On 224
Chauffeur Sack Coat 158 Canvas for Coat 225 and 226
Policeman's Blouse 159 How to Make a Pocket 227
Policeman's Frock Coat, 160; Diagram 161 How to Try On 229
Norfolk Jacket, 162 Diagram
; 163 How to Instruct the Maker 231
Golf Coat, 164 Diagram
; 165 Coat Making 233
Riding Coat 166 Vest Making 237
Hunting Sack 167 Trouser Making 238
\iii
 Preface
The demand from the progressive members of the profession who desire to keep abreast of the

latest developments in sartorial science and art, and the necessity for a permcinent record of the thought

and work, both of the author, and of the thousands of earnest students, who, by the use of the Supreme

System have attained success and have created many original ideas, has led to the publication of this

third, enlarged, simplified and grand edition of the Supreme System of Garment Cutting.

In presenting this volume to the public, the author believes that the following features of his work

adapt it to the purposes for which it was designed.

1. It contains no more than can be mastered by the average intellect in the time usually given to

the study and acquirement of the Art of Cutting.

2. It is thoroughly systematized.

The order and development of subjects is thought to be logical and practical, and the arrangement

of topics especially adapted to the best methods of Artistic Drafting.

3. It is written and illustrated in accordance with modern theories and practice, and no pains or

expense have been spared in the attempt to make it fully represent the present needs of the Art, so far

as human ingenuity and deep study can obtain.

In addition to his efforts to make these features prominent, the author has not forgotten that a

student will succeed best when required to learn one thing at a time. He has, therefore, as far as

practical, presented each subject separately and in natural order, like the successive steps of a ladder,

leading to a height from which the student may have a clear and comprehensive view of the Science

of Garment Cutting, and at the same time, let us hope, reach that Acme of Artistic Skill, which THE
SUPREME SYSTEM makes easily accessible to those who desire to give serious thought and honest

application to these pages.

THE AUTHOR.

i.\
 Inspiration—
''All Things Come To Him Who Hustles While He Waits

Advice To The Student.

The system set forth in this volume and its results are based on the experience of eighteen years'

practical application, previous to its publication, in high-class merchant tailoring, not alone by the

author but by hundreds of his successful students as well. The experience gained during these years

of practice has revealed many improvements, and it is with the fullest confidence that the best results

aimed at in high-class tailoring can be obtained from this system upon its proper application that I

offer this volume to its readers.

Personally I believe in man and have faith in his capacity to do just as he wills. I further believe

that hesitation is a detriment to one's own interests and the creator of unnecessary thoughts which

sap one's energies and waste one's brains. Therefore, the best advice I can give the student begin-

ning the study of this volume is to have faith in the system you are about to learn. Confidence is not

only valuable, but an absolute necessity in order that a student may maintain steady progress toward

thorough qualification in men's garment cutting.

The practical value of this volume lies in the fact that a realization of sartorial truths will make
you stronger in your work. The right mental attitude is very necessary to success in this masterly

yet simplified subject. Further, in addition to confidence in the system, you must have confidence in

yourself so that you will be able to thoroughly absorb the details herein set forth. Be perfectly hon-

est with yourself and honest in your application of the system, and, while the details are numerous,

you will find that the farther you proceed the more interesting the subject will become. With confi-

dence incorporate perseverance, and, while it must be admitted that it is not an easy task to learn to

be a cutter, it is a gradual process from elementary to advanced attainments and qualifications.

In order to encourage perseverance in the student, the first part of the work has been drawn up
with scientific simplicity, for it would be a great mistake to study more than one thing at a time. It

would be unwise for the student to branch off into disproportions or direct measurements before the

elementary portion had been completely mastered. Therefore, the proportionate draft should be gone

over and over again until its principles have been thoroughly acquired, and in this way, having

secured the principal points, it will be a surprise to the student to recognize in the following drafts

the same principles incorporated, while the subject of the different heights, attitudes and dispropor-
tions, as well as direct measurements, will each in the proper order be thoroughly mastered.

FREDERICK T. CROONBORG.
original 36-inch normal. A proportionate subject measures 4 inches less at the waist than around

the breast, and 1 inch more over the seat than over the breast. The measures for the ideal model

for the Supreme System are, therefore, as follows

Height, 5 feet 8 inches.

Weight, 135 pounds.

Circumference of breast, 36 inches.

Circumference of waist, 32 inches.

Circumference of seat, 37 inches.

In drafting we use the regular tailoring square (illustrated on page 9.) One side of this

square shows the gradations and fractions of inches and the other side the full inches. By means of

these divisions on the square we find the proportions for our ideal model, and by the same method

we are able to produce any kind of garment with promptness and exactness. The beginner should
first of all familiarize himself with the square. Inasmuch as the various divisions on the square are

applied in the Supreme System, it should be thoroughly studied. Further, the application of divisions

is so regulated that each pattern will have uniformity, and formulate the gradations of patterns

in the different sizes, therefore necessitating that these divisions must be absolutely applied accord-

ing to instructions, or else the grade will be lost.

Height
While 5 feet 8 inches in height is the ideal model, we constantly come in contact with the tall

or short man. This, however, in no way changes the application of the divisions, but necessitates

additions and deductions to depth of scye, waist length, length to seat, and in all probability also to

the length of the garment. (As per instructions and illustrations on pages 20 and 21.)

Circumferen ce
While 4 inches is the normal difference between breast and waist, it must be understood that

increase and decrease of waist must be treated in the manner illustrated and instructed on page 23.

For corpulent on pages 24, 25, 38 and 39.

For stout on page 40.

For slim on pages 18 and 19.

These illustrations and instructions should be given attentive consideration, as in corpulent and

stout there are varying points relative to both circumference and depth of scye ; also, for the reason

that they give the student a thorough understanding of the definition of slim, normal, corpulent and

stout.

Exaggerations
Exaggeration is the scientific resource for enlargement of patterns. More or less exaggeration

is incorporated in order to obtain the different effects the style demands. If half the cutters knew
how and when to exaggerate they would have less trouble, and thousands of dollars would be saved
 By the use of exaggeration the cutter is able to produce a coat as large
in the busheling department.

circumference as he desires, while the garment still clings to the neck, the goods drape propor-
in

tionately around the body ; and, the armhole is placed in the right position and at the proper height.

(See pages 26 and 27.)

Variations
Under this head we come in contact with many subjects that at first seem to be most complicated,

but upon application to the direction and instruction from numerous illustrations on this subject,

after study of cause and effect from the original draft, it will become a most simple, reasonable, as

well as scientific, way of variations for the different attitudes and subjects a cutter is called on to fit,

therefore, by giving attention and proper study to the types of forms (as shown in illustrations on

pages 41-43), and fixing in one's mind the regular code of the types, and in that connection studying the

mathematical drawing of variations of coats illustrated on pages 45-49, it will soon be plain that by

applying the divisions in the usual way it makes it possible to produce a good pattern for any size or

form of type, whether it be slim, stout, or corpulent, stooping or erect, head forward or backward,

sloping or square shoulders, long or short neck, etc.

However, careful study of attitudes is very essential so as to be sure that in actual practice they

have been stipulated in the right direction. It is to be noticed that by working the ideal model in

the various directions stipulated it will develop striking similarity in all patterns, indicating that,

while the pattern has been swayed in various ways for the different types of forms, increases or de-

creases of circumference, and different heights, it retains the symmetry of the original, insuring a

well balanced garment for any form or type of man. Therefore, caution should be exercised by the

cutter in stipulating the type, as it will be surprising to see how well a proportionate coat will fit

most men of the same size. The alteration in most cases would be slight, even where the cutter

may have stipulated the third degree of deformation of a certain type. It is not advisable to find

fault with the form of the subject, and unless there is a positive inclination of a certain type, cut

a proportionate pattern subject to height and circumference.

'Direct Measurements
I am a firm believer in fundamental principles, consisting of Supreme proportions. Height,

Weight, Circumference and Variations for the different types of men as a regulation for obtaining

symmetry and correct balance in men's garments.

In discussing direct measures, what has been stated heretofore in this introduction in connec-

tion with illustrations and instructions pertaining to fundamentals, contains the principles of the Sys-

tem proper, inasmuch as it comprises the scientific part of garment cutting. Direct measures is a

methodical way of applying measures over said proportions, variations, heights, circumferences, etc.

In connection with these proportions, direct measures are of value, but direct measures cannot

be relied upon, as a foundation in themselves, inasmuch as in applying measures to any part of the

body judgment must be exercised to the utmost.

 There are, no doubt, experts who have by long experience accustomed themselves to particular

methods, enabling them to take measures with great exactness, but that proves only their own skill.

The fact remains that the great majority of cutters cannot handle the customer with the manner of

an expert nor secure measures that are even approximately correct.

No material progress in measuring has been made during the past twenty-five years and in

view of my personal study on this subject for years, I have come to the conclusion that the object

the cutter should have in view in cutting a garment should be to cut it so it will fit and clothe the

customer gracefully.

I am perfectly aware of the fact that it is an utter impossibility to be successful with direct meas-

ures unless combined with the fundamentals, proportions and variations.

The principal reason for this is that the form will not measure the same for five consecutive

seconds ; a deep breath, a shifting of the weight from one foot to the other, or any other slight move-

ment on the part of the customer not only changes his size, but so varies the relations of the points

to each other that absolute measurements are unattainable.

This, together with the difference of undergarments, renders accuracy out of the question.

Any cutter who has ever placed a square under the arm of a customer knows very well that a

slight pressure will easily make a difference of one-fourth to one-half inch, and who is the cutter

who can measure the depth of scye, blade and strap twice alike with a tape and square where pro-

portions are not stipulated to guide him. Young cutters are especially inclined to adopt methods
which require many superficial measurements, and are prone to believe they should have a knowledge

of anatomy to enable them to succeed. They strain their eyes in an endeavor to take measures

to the sixteenth of an inch, and are happy so long as the measures are fractional.

But in spite of all these uncertainties in measurements, direct measures are of great value in

connection with proportions and variations, but they must be taken and applied in the manner de-

scribed in the various diagrams on how to take them and WHEN and WHERE to apply them. It

will then be readily seen that direct measures should not be used without fundamentals, which only

goes to show that there is no true art without the proper exercise of science. For these reasons, in

the Supreme System will be found a complete combination of Supreme proportions, Variations,

Heights, Circumferences, Exaggerations and Direct Measures, hence the name the GRAND
EDITION of SUPREME SYSTEM.

Block Patterns
Any man who thoroughly understands the system of drafting, measurements and applications,

as well as exaggerations, and has the principles of variations, etc., can use block patterns with as

much success as by drafting. This is especially true in regard to sacks and overcoats. It is also true

that block patterns are safer to use than uncertain drafted patterns. The block, of course, would

be used as a model, subject to variations and measurements, and the fact is that a good block in the
hands of a proficient cutter will give the same results as drafting. It must, however, be understood

that no man who does not thoroughly understand System and its resources can intelligently use

block patterns.

Individuality
By Individuality, I mean the quality of being distinct or personal, and the extent to which a

cutter is individual in his productions depends entirely on his artistic ability in connection with his

scientific and practical knowledge of tailoring, as in the individuality of his productions he displays

his special and independent personality. Toward this end the exaggerations and manipulations of

patterns and a thorough knowlege of practical try-ons and draping act as his resources. These re-

sources, in connection with the development of the latest styles, such as correct shoulders, placing

of vents, the different positions of pockets, as well as collars and lapels, cuffs on sleeves, various

lengths and the general effect of the prevailing styles enable a cutter to produce not only stylish

garments but to display his own individuality as well.

Another thing which should be given thorough consideration in this respect is the cutting and
making of the canvas of the coat, as the canvas should be changed as often as the style demands and

for the different individual effects and shapes of fronts. For this reason the canvas is a most im-
portant factor in the production of individual and stylish garments. (See the Treatise on Practical

Tailoring; also, study the lecture on "How to Make a Try-on and How to Try on.") Remember it is

the cultured public which is to be gratified, and Individuality is the interpretation of Sartorial Art

which embraces more than mere system.

Fashions
The style of yesterday, which may never return, would be useless, and the style of tomorrow
would be impossible to foretell. For this reason no account has been taken of the fashion of the

future in this volume, but every style, past, present, and future, is based on the scientific and artistic

principles set forth in this work, and the fashion cuts adorning the pages of this work are, therefore,

of the standard type of the time of its publication to serve as a foundation for whatever may be the
style in the future. They are also valuable as an illustration of the finished product of the various

diagrams and instructions, and, further, with the view of illustrating the regulations of dress for dif-

ferent occasions, thereby serving as Dress Ethics.

 The Square
Besides the yardstick, tape and chalk, the only device used in drafting patterns for garments is

the square, and the square is the most essential device, for the reason that upon the various divisions

illustrated on it, we find fractions of inches, which when put in practice, enable us to find the various

proportions of the different parts of patterns, as well as enabling us to produce any size desired.

Therefore, the square must be studied thoroughly by all persons whose ambition it is to begin the study

of drafting, as without a knowledge of this square and its various divisions, nothing can be accomplished

in drafting. A full knowledge of this square must be acquired first of all. In this connection it is well

to remember that in producing patterns for garments of any kind the cloth is always laid double in

cutting, while one pattern is used for both sides. For example: The front and back part are pro-

duced, laid on double cloth and so cut out for both sides. Therefore, use only half of the breast or waist

measure in drafting patterns. For example : If a person measures 40 breast, 20 is the figure on the

divisions which is used, or if a person measures 36 breast, 18 is the figures on the various divisions

of the square which is used, and so on.

Now, let us take a general examination of the square illustrated. Notice the divisions on the

long arm of the square, starting from the right angle. You will first find the twenty-fourths ; next, the

twelfths ; then the sixths, and again the thirds, and finally the two-thirds of inches, all on the long

arm of this square. Be sure you fix in your mind just where these divisions are located.

Next, make a thorough examination of the short arm of the square starting with the right angle.

First are the sixteenths, then the eighths, then the fourths, and finally the half inches on the short

arm. Be sure you have fixed in your mind just where these divisions are located on the short arm
of the square.
j^a>**

Next, take the regular square and study it together with the illustration. Be sure you thoroughly
understand and know where to find the various divisions of inches. Therefore, study both illustration

and regular square until you are satisfied that you have absorbed and know it thoroughly.

Remember, in drafting you are using only one-half of the regular measure for the reason that you

draft only one pattern and the pattern is laid on double cloth for cutting.
 The Tester
To Draft

Draw lines A-1, and A-L at right angle. A to E is 1/6 on divisions of 48 ; 24 on the square.
The difference between the figures from A down 1 to 5 is 1/6 on divisions of 24; 12 on the square.
to 1 is J/2 in. Rule a line from E to 5.

Proceed to square out the lines as shown in illus-

tration from A down as indicated from -iS to 24.

A to D is 3/^ on divisions of 48; 24 on the square.
From A to L is % on the divisions of 48; 24 on
1 to 4 is 34 on divisions of 24; 12 on the square.
the square.
Rule a line from D to 4.
From 1 to 9 is % on divisions of 24 ; 12 on the
square.

Rule a line from L to 9. A to C is 1/12 on divisions of 48; 24 on the

square.

1 to 3 is 1/12 on divisions of 24; 12 on the square.

From A to H is ^ on divisions of 48 ; 24 on the
Rule a line from C to 3.
square.
From 1 to 8 is 3^ on divisions of 24; 12 on the
square.
A to B is iV on divisions of 48 24 on the square.
;

Rule a line from H to 8.

1 to 2 is on divisions of 24; 12 on the square.
iV
Rule a line from B to 2.

From A to G is % on divisions of 48 ; 24 on the

square.
From 1 to 7 is I3 on divisions of 24; 12 on the Now proceed to test the various divisions illus-

trated on the square from 48 to 24, as in this tester

square.
you have all the divisions applied in the production of
Rule a line from G to 7.
the various sizes for all kinds of garments, from the
large man measuring 48 to the little boy measuring
From A to F is '4 on divisions of 48 ; 24 on the only 24 around the breast, waist, or seat. For ex-
square. ample, try size 40-36, etc., for the various divisions,
1 to J4 on divisions of 24; 12 on the square.
6 is in fact, try all sizes for a better understanding of the
Rule a line from F to 6. different divisions.
H
W
1-3

>
t-H

en
O
C
>

>
2i
O
H
w
M
W
The Ideal Model for
Supreme System
 Hoiv to Measure
Those whose ambition it is to become successful cutters should give thorough study to the art
of measuring. They should further train their faculties by observing the different types, shapes and
forms of men; and last, but not least, in taking short, or direct measures, exercise the utmost care,
as exactness of these measures is hard to obtain.

Measurements are, therefore, divided into three different sections. The first consists of length
and circumference in connection with heights. The second consists of the definition of types, forms
and attitudes. The third section is that of Short, or Direct Measures, sometimes called Cross
Measures. We will, therefore, proceed to give Measurements in the manner in which the illustrations

and instructions are arranged in this volume by now taking the Fiist Section under consideration,
and as many measures as are necessary in order to produce a propoitionate coat, subject to height
and circumference. i

Practice has demonstrated that taking the length of the coat and width cf back before a cus-
tomer removes the garment will give the best satisfaction, for the reason that the old coat acts as a

foundation for these measurements, and the cutter by taking these measurements over same can
better distinguish whether the old coat is too long, or too short, and how rr uch, thereby obtaining
more correct length for the new coat. For the same reason the width of the back is also taken in
the same manner. (See Plate No. 1.) Next, after the coat is removed place the regular tailoring

square at the top of shoulder and have the short arm of square rest en the end of the right shoulder
the long arm of square across the back; hold same even with left shoulder end witl: your left hand
and with a piece of chalk in your right hand mark off point Z, as illustialed in Plate 2. Fix the
point of the neck by laying on the tape to the back of the neck, allowing both ends of same to run
to the front. Turn the tape under the arms and across back, holding both ends of the tape together

with the left hand, and with a piece of chalk in the right hand mark points A and B as shown in illus-

tration in Plate 2. Next remove the tape from the back of the neck and place tape around breast, and
register the figure of circumference of breast. Next, fix the waist line by placing the tape around
the hollow of the waist, holding the tape together with the left hand, and with the piece of chalk
in the right hand mark off the waist line, or point C, Plate 2, at the same time register the circum-
ference of the waist. Next, place the tape around the most prominent part of the seat, hold the
tape together with the left hand, marking with the right hand point D, Plate 2, and register seat
measure. Plate No. 3 illustrates the front view of Plate No. 2 with a square properly placed under
the arm and tape attached for the measuring of sleeve length from H to G as shown, as well as
illustrating the manner in which the tape line should be placed when breast, waist and seat measure
is taken. Next, if possible, ascertain the correct height and weight of the customer. While the length
of coat and width of back will in proportions be given from height and circumference, these two
measures were registered first with view of applying in connection with said proportions. The
measures so far taken should be entered in the measuring books as follows:

Length 29 inches Seat 37 inches

Width of back 14 inches Sleeve length 1854 inches
Breast 36 inches Height 5 feet 8 inches
Waist 32 inches Weight 135 pounds

This is the First Section of Measurements. For the Second Section see Definition of Types, and
for the Third Section see Direct Measures.
 How to Measure

MMl(i/i

P/a/€ Z. Flc^tcL PLddc 3.

 The Sack Coat
Every man in America, multi-niiilionaire as well been more or less popular. The straight front has

as laborer, wears a sack coat. It is the great Ameri- been in vogue for about the same time.
can business coat, and in other countries is recog-
In the change from the wide shoulder, it would
nized as the badge of the American.
seem that logically narrow shoulders will be the next
That it is roomy and comfortable, loose enough
distinguishing mark in favor.
to allow free movement, and because it has no tails

In ])n)( hieing a sack coat there are three points

to get in the way. is perhaps the reason for part of
to be reiuembered, for upon these depend its popu-
its vogue. Then it is plentifully supplied with pock-

ets, which make it extremely convenient to the busi-

larity. It must be roomy and comfortable, yet at

ness man.
the same time witiiout any trimming or finishing
which will nl>struct free movement, and have plentv
Although from year to year slight changes are
of pockets.
observable in the fashion of sack coats, the general

design has remained unchanged for many years. It The different models of sack coats are all built

grows shorter, then longer, then short again. It is on the same general design, the double and single
loose and boxy, then body-litting and has many varia- breast, the placing of the pockets, buttons, cuff's, etc.,

tions between these extremes. the cutting of fronts, collars and lapels, express only

For ten years past the sack coat has been half the individuality of the tailor, the personal taste of
fitting, and for six years the padded shoulders have the customer, or the exactions of fashion.
 Sack Coats

REGULAR MODELS OF SACK

OR BUSINESS COATS
 Systematical Outline for Sack Coat
Measures:

Breast 36 in. Seat ... .0/ in.

Waist 32 in. Heig-ht ,5 ft. 8 in.

To Draft

Square out and down from A. Square up and down from G.

A to Vis % 'jreast measure. G to W is 1-6 breast measitre.

V to B is 3 in. Square up from W.

A to C is ^ of total height plus >2 in. B to N is breast measure.

A to D is i/H of height plus 1 in. N to I is 2J4 in.

A to E is 3'2 height minus 5 in. Square down from I.

By applying measure it will be found that from X to O is 1-6 breast measure.

A to B is 9 in.
Rule a line from Q to I.

A to C is- \7y2 in.

A to T is 1-6 breast measure.

A to D is 2Zy2 in.
T to R is 34 in.

A to E is 29 in. for this particular height and

Rule a line from W to R.
circumference.
Square back from point K, finding point Z.
Square out B, C, D and E.
Rule a line from X to Z.
B to F is 1/3 breast measure.

F to H is \y, in.
Q to P is 1-6 breast measure.

Square up and down from H. Rule a line from J to P.

B to S is 3/ breast measure. These are the principal points for normal, and

S to G is 33/2 in. should be studied first of all.

16
 Systematical Outline for Sack Coat

I N W C S H F

U D

DIAGRAM NO. 1.
 liegulatlon Sack Coat — continued

Measures:

Breast 36 in. Seat 37 in.

Waist 32 in. Heis:ht 5 ft. 8 in.

To Draft
First la_v up all points as described in outline, then The pockets are found % of the sleeve length,
continue as follows :
from G down pockets for this size of coat are 6V2
;
'"•

C to M is Yo in. This is the body of a single-breasted normal sack.

Square down from M. For double-breasted sack note the dash lines at
front.
Rule a line from \ to M.
H to 15 is 1-12 breast measure.
From I to 25 is 3^ in.

Rule a line from B to 15 and out.

From to 26 is 33^ in.

From 16 to 20 is in.
15 to 2 is ^ in. 3K-
Notch at top is 3 in.
3 to 4 is J4 in.
Shape front as shown by dash lines.
K to 11 is J4 in.
Add in. to top of back at A and shape back as Take out a V of ^ in. at point P and you have
Yf,

per solid lines in illustration, from A to R, R to 11, a normal double-breasted sack.

11 to 2, 2 to 4, 4 to 10 and down. For small-waisted sack
L to is J4 waist measure.
Take out of center seam at point M ^^ in. for
every inch the man less than normal.
Applv waist measure from 4 to M and to 8.
is

From 8 to 3
Shape from V down as shown by dotted lines.
is ZY^ J"-

Apply seat measure on % of the divisions from

Apply waist measure from 4 to M and to 7.

10 to 14 and U to 10. 7 to 9 is 2>Y2 in.

From 10 to 12 is 2 in.
9 to 3 is the amount to be reduced, which is

X to Y is same distance as from R to 11 minus

taken out in an underarm V as shown by dotted lines

from armhole to pocket.

V& in.
Extend width of forepart at point 2 Y^ iii-> as
Reduce side of front part Y^ '"• '^^ point 2.
shown by dotted lines, which is allowance for two
Shape as shown in solid lines of illustration from
seams used for underarm \'.
2 to 3, 3 to 12 and down.
This finishes draft for small waist.
Sweep back from 5 to 6, using point 2 as a pivot.

Sweep forward from point 6 to 16, using point

Collar
X as a pivot.

Shape armhole from Y to 2 as illustrated. Extend crease line from 13 up to 23.

Shape shoulder as shown in diagram from Y to 17 to 27 is 1>4 in.

X, and shape neck hole from X to P. 22 to 2i is the stand of 1 in.

Make width of lapel 3 in. from 18 to 17. 27 to 22 is the same distance as from A to R
I to 13 is \Y2 in. and X to 27.

to 19 is \Ya in. Shape from 22 to 27.

Extend 1 in. of length at point 16. 23 to 24 is 2 in.

Now shape from point P to 17, 17 to 13, 13 to 19 27 to 21 is 1J4 ill-

and down to 16. Shape from 22 to 2Z, 23 to 24, 24 to 21, 21 to 27,

Shape as shown in illustration from 6 to 16. as shown.
Regulation Sack Coat — continued

DIAGRAM NO. 2.

19
 Heights
In variation of heights men are
divided into three classes, viz. :

tall, normal and short. (See illus-

tration Relative Heights.)

In each of these classes we may
have several degrees of the same
type. As a rule we find difficulty
in impressing the student with an
understanding of the necessity of
height as a positive guide to regu-
lateand shape the garment to the
figure. A knowledge of the height
of the customer is of great prac-
tical value to a cutter, not only as
a guide to regulate the length of
the garment, but also to obtain the
proportionate station relative to
heights, such as slope of shoulder,
depth of scye, waist length, length
to seat, as well as the average
length of the garment, so as to
avoid the possibility of cutting a
long coat for a short figure or a
short coat for a tall man. (See il-

lustration Relative Heights.) A is

the neck point, Z is slope of shoul-

der, B depth of scye, C waist length
and D length to seat.
Suppose the height to be 5 ft. 8
in. as the middle figure of Relative
Heights illustrate. Five ft. and 8

in. is a total of 68 in., which is the

normal height of a man. One-
eighth of 68 is 8>4 in. Add to this
Yz and we have 9 in., which is
in.

the total amount of depth of scye

for a subject 5 ft. 8 in. in height
and 36 breast.Then again divide
the total amount of the depth of
the scye into three equal parts, and
1-3 of this amount is the propor-
tionate slope of shoulder. (See il-

lustration Relative Heights.)

The circumference of breast reg-
ulates the depth of scye because the
arms and muscles graue m circum-
ference in proportion with the cir-
cumference of the body, and the
normal depth of scye is, therefore,
found by taking 1-3 of the breast
4" 56" 512'
measure plus 3 inches for the nor- 5'
mal height of 5 ft. 8 in. (See Dia-
gram 3, AB.)

2()
 Heights
The fact remains that the depth mal, and variations for 5 ft. 4 in. coat is ]^, of the entire height. For
of scye is approximately ]/& of en- and 5 ft. 12 in., as shown by dash fashionable waist add IJ^ in.

tire height of figure, and in vary- and dotted lines.) Illustrating that
Waist length for sack coat is J4
ing from the normal height 34 of for 6 ft. there is 3^ in. addition to
of the entire height plus Yz in.
an inch is added to the depth for the depth of scye and for 5 ft. 4 in.
(See Diagram 3, Point C, for nor-
every inch the subject is taller than there is lA deduction from the nor-
mal, dotted line for 5 ft. 4 in., and
5 ft. 8 in., and ]4, in. is deducted mal representing 14, of an inch for
dash line for 5 ft. 12 in.) The
from depth of scye for every inch each inch he is taller or shorter
1-3 of the entire
length to seat is
the subject is shorter than 5 ft. 8 than the normal.
height plus 1 in. (See Diagram 3,
in. (See Diagram 3, Point A, nor- The natural waist for a frock
Point D, for normal, dotted line
for 5 ft. 4 in., and dash line for 5

ft. 12 in.)

The average length of sack coat

is y2 of the height minus 5 in.

(See Diagram 3, Point E, for nor-

mal, dotted line for 5 ft. 4 in., and
dash line for 5 ft. 12 in.)

The average length of a S. B.

frock is half the height plus 2 in.
The average length of a D. B.
frock is 3^ of the height plus 6 in.

Average length for a full dress coat

is Yi of the height plus 5 in., and
the average length for an overcoat
is half of the height plus 8 in.

While style governs the length

of the garment, this division of
heights will serve as a guide to
regulate the length of the gar-
ment, which should be graded
IS'*
according to the height of the
t5" customer. Illustration Relative
Heights shows the position and in-

cline which is calculated as the

neck point, therefore A to Z is

shoulder slope, A to B depth of

scye, A to C waist length and A to

D D is length to seat.

5-ir
By a careful study of the illus-

tration Relative Heights, and the

Diagram No. 3, and following out
the instructions herein stipulated

.a'*"
and thereby illustrated, will make
the student conversant with relative
E heights as well as the necessity of
incorporating the same in produc-
L Ji'^"
tion of patterns.
DIAGRAM NO. 3.
Proportionate Table of Breast Measures by Weight and Height
 Circumference
In variations of circumference customers are divided into four types : Slim, Normal, Corpulent and
Stout. (See illustrations.) By Slim I refer to persons who measure less than normal around waist, as
36 breast and 30 waist, who should be treated in the manner stipulated and insttucted in diagram 2;
the Normal coat is that of the solid lines in the same diagram. The Corpulent differs from the Stout
around waist as well as over breast. By the Corpulent figure I mean a figure which hasgrown heavy
while still retaining its athletic type, but measuring more than proportionatearound the waist for;

example, 42 breast and 42 waist is termed Corpulent : 40 and 39 waist with the 42 breast measure would

also be corpulent. (See Fig. 8.) Any man whose waist measures more than Normal, or any man whose
waist measure is the same as over breast, termed Corpulent, and should be treated as shown in diagram
is

4. The stout man is he who measures more around the waist tiian around the breast. .Study Fig. 9 for
Stout form, and treat same as shown in diagram 11. In classifying Circumference, the Slim measures
less around waist than Normal, the Corpulent measures more around waist than regulation or Normal
waist measure, and the Stout measures more around waist than around breast. In application of the
divisions for depth of scye, the increase and decrease for depth of scye over 42 will be only 1-12 inch.
( See diagram 4.
 Sack Coat for Corpulent Figure
Note difference of increase on depth of scye. A corpulent figure is one whose waist measure is more
than normal, but still does not exceed breast measure.

Measures Used
Breast -18 in. Seat 48 in.

Waist 48 in. Height 5 ft. 8 in.

To DraLft
Square out and down from A. indiagram from A to R, R to 11, 11 to 2, 2 to 3, 17
and down.
A to 48 is 1-3 breast measure, but inasmuch as
point for regular grade, size 42 is
to P is 1-6 breast measure.
42 is stipulated
1-3 Rule a line from J to P.
taken into consideration. Therefore, .\ to 42 is
X to Y is same distance as from R to 1 1 minus
of size 42.
y^ in.
V is half way between 48 and 42. Shape armholc as shown in diagram from Y to 2,
V to B is 3 in. Shape shoulder from Y to X and shape neck
A to C is >4 height plus {2 in. hole from X to P and out.
A to D is height plus
i/ii in. 1
Apply waist measure from 3 to and to 8. M
A to E is >4 height minus 3 in.
8 to '4
is 3K' in.
Square out B, C, D and E. Apply seat measure on % of division from 17 to
B to F is % breast measure.
14 and U to 10.
F to H is \y2 in.
10 to 12 is 2 in.
B to S is J/2
breast.
Sweep back from point 5 to 6, using point 2 as
S to G is Zyi in.
a pivot.
G to W is 1-6 breast measure.
Sweep forward from 6 to 16, using point X as
B to N is breast measure.
a pivot.
N to I is 2J4 in.
1 to 13 is iy2 in.
Square down from I. to 15 is ly. in.
Square up from W. Shape lapel and front.
Square up and down from G. 16 to 18 is \y2 in.
Square up and down from H. Shape cutaway of front as shown in illustration
C to M is >4 in. also shape side of front part from 2 to 4, 12 and down,
Square down from M. and shape bottom of coat from 6 to 18.
Rule a line from V to M. For double-breasted coat note dash line in this
A to T is 1/6 breast measure. illustration, and add same amount to front as for
T to R is % in. double-breasted coat illustrated in diagram 2.
Sweep back from point 1 to X, using point G Place pocket as shown in diagram.
as a pivot. Cut a slash in pattern from center of armhole to
1 to X is y2 in. point 21 and from 21 to front end of pocket, as shown
Rule a from VV to R.
line in illustration.
Square back frpm K, finding point Z. Make plait from front of pocket dpwn to front
Rule a line from X to Z. corner of coat as shown by shaded lines, in size so that
Square out from X by balance line. distance from 20 to 21 will be y% in. for each inch
X to O is 1/6 breast measure. the garment is over normal waist. In this case the
L to O is 3^ waist measure. coat is 4 in. over normal and total from 20 to 21
Shape as shown in illustration from O to 1, O is yi in.

and down. Dash line on side of front part illustrates open-

H to 19 is 1/12 breast measure. ing in center of armhole and down to side of front
Rule a line from B to 19 and out. part.
19 to 2 is % in. For further information on this subject see
Add 14, in- to top of back at A and sliape as shown manipulation for stout.
Sack Coat for Corpulent Figure

DIAGRAM NO. 4.
 Exaggeration
In these days fashion is hablc to change ahnost over night, and the general demand is for indi-

viduality in clothes. We are past the time when clothes are valued simply as a fit ; but fitness in clothes
isexpressed by style and individual effect produced for particular customers. E.xaggeration, then, becomes
a most valuable resource, because by the application of exaggerations to the patterns a cutter is able
to produce a garment that not only holds the fitting points, but can be made as many sizes larger than
the actual circumference of the man as is necessary, while distributing the material proportionately
around the body. For the tall and thin figure exaggeration is of incalculable value, for if a garment
was cut according to measurements alone it would by no means represent the advanced style of to-
day. Exaggeration is therefore a scientific resource subject to the personality of the type of customer
as well as to style, and can be relied on for exactness in enlargement of circumference in garments
to the fullest extent. Measurements taken of a customer remain the same as for a fitting garment,
and the amount of excess is stipulated according to the type of the customer as well as the prevailing
style, by so many inches in excess. The amount of excess also varies in different classes of trade.
In providing for different figures requiring exaggeration it would be well to include one size of
excess in the normal, or 5 ft. 8 in. and 36 breast, and an average of 3-2 in. more excess for each inch
the customer is taller than 5 ft. 8 in., provided he does not increase in circumference in proportion to
his height. This is for sack coats.
For overcoats it has been found practical to give 2 inches of excess to the figure of normal height
'and circumference, and an average of yS inch more for each inch a man is taller than normal. In frock
coats advisable not to include any excess for normal height and circumference, but to add J2 inch
it is

for each inch the subject is taller than normal. This is for the tall and slim types.
For Short and Corpulent and Short and Stout it is advisable to cut a sack according to regular measure
overcoat two sizes in excess, and frock coat J^ size less than regular measure. Personal practice has
demonstrated that this conservative advice should be followed by students also, that measurements ;

should be taken according to instructions, and the excess stipulated at the time measurements are taken. <

In the Second Section or Definition of Types, Ex. 1, 2 and 3, thereby meaning excess 1. 2 or 3 inches.
The diagram on opposite page illustrates exaggeration of 36 to 40.

Measurements are as Follows:

Waist length 17j^ in. Waist 32 in.

Length to seat 23^ in. Seat 2>7 in.

Full length 29 in. E.xaggerated four sizes. For proportionate 36

Breast 36 in. in. breast subject.

To Draft
The dotted lines indicate the regular 36, 32 and S to G is iyi in.

2)7 in. circumference, and 5 ft. 8 in. in height, accord- G to 9 is 1 in., or ^4 in. for each size the coat
ing to the regular instructions of sack coat. is exaggerated. ( See dashes between G and 9.

The solid lines show an exaggerated coat to 40, 9 to W is 1/6 of regular breast measure.
36 and 41 in., respectively, also 5 ft. 8 in. in height. W to 8 is 3/ i"- ''»
Vi i"- t'"'" e^it^'i size the coat
It will be noticed that the depth of scye, waist jg exao-gerated.
length, length to seat, as well as length of coat re-
Square up from 8
mains the same as the original, while the increases
g^^,^^^ ^,p ^^^^ ^^^^.^^ ^^^^^^ 9
are m the circumference, which places the goods of an
g^^^^^ ^^ ^^^ ^^^^ ^^^^^^ ^
exaggerated coat in the proper position. This being
g ^^ jg j^ ^^^ ^^^^j^^ ^^^^^^ measure.
a coat exaggerated four sizes, the increases are, there-
^ ^^ ^^ j^ ^,^^ exaggerated breast measure.
fore, placed as follows:
„,,.,,,
B to % of regular
1 IS
, , ^
breast measure.
.„,
Note
,

.
,
that the increase between
.

.
,

,,,,.,,. and N
,0
18
, ^t
is
,^
V2

r>
B ^
to
T-
F is %
-t , ijubreast measure, making
exaggerated L. 1- ui. for each size, as indicated
'
bv dashes in the distance

,r r from 18 to N.
an increase of \1/6 c j-u •
t. 4.
m. for each size the coat is e.x-

aggerated, as indicated by dashes between points 1

JSI to 1 is z/4 m.

and F. Add 4 inches to the regular waist measure for

F to H is the regular 1^ in. e.xaggerated waist, and apply in the usual manner
B to S is J^ regular breast measure. plus 3^ in.

26
 Diagram for Exaggerated Sack Coat

DIAGRAM NO. 5.

Also add four sizes to the seat measure and aggerated coat is completed.
apply in the regular manner, plus 2 in. Should less exaggeration be desired over waist
These are all the points moved b}' exaggeration and seat, add less to your measure, and operate on
or obtained by exaggerated measures. front part by taking out a V in the same manner as
All other points relative to shoulders, top of back, illustrated in the regular sack coat for small waist.

etc.. remain according to regulations. Height, variations, direct measures, etc., to be

Add the button stand, as in a regular coat, and incorporated according to instructions and illustra-

shape as shown by solid lines and finish, and the ex- tions in this volume.
 Single and Double Breasted Sack Overcoat
Mea.sures Used
Breast 40 in. Seat 41 in.

Waist 36 in. Lenffth, etc., based on heisrht of 5 ft. 8 in.

To DrcLft

Square out and down from A. 8 to 4 is 43^ in..

A to V is % breast measure. Apply seat measure on % of the division from

V to B is 3 in. 10 to 14 and U to 10.

A to C is 34 height plus 1 in. 10 to 12 is 234 in.

.A to D is % height plus 1 in. Reduce front part 3^ in. at point 2.

A E or length of coat Shape as shown in illustration from 2 to 4, 4 to 12

to is J^ height plus 8 in.,

desired. and down to 6.

Square out B, C, D and E. Sweep backward from point 5 to 6, using point

B to F is i^ breast measure. 2 as a pivot.

F to H is V/i in. Sweep forward from 6, using point X as a pivot.

B to S is J4 breast measure.
From X to Y is same distance as from R to 11

S to G is 2>Y2 in. minus ^ in.

G to W is 1/6 breast measure. Shape armhole as shown in diagram from Y to 2.

B to N is breast measure. Shape shoulder from Y to X.

N to I is 2% in. to P is 1/6 breast measure.

Square up and down from H. Draw a line from J to P.

Square up and down from G. Shape neck hole as shown in illustration from
Square up from W. X to P and out.

L to is 34 waist measure. 1 to 13 is 2 in.

C to M is >^ in. to LS is 2 in.

Square down from M. 16 to 18 is 2 in.

Rule a line from V to M. Extend width of lapel desired.

.\ to T is 1/6 breast. Shape front as per illustration from 13 to 15 and

T to R is % in. down to 16.

Rule a line from W to R. Add 1 in. to length of front at point 18.

Square back from K, finding point Z. Shape bottom as shown in diagram.

Rule a line from Z to X. Place pockets % of sleeve length down from
n to 17 is 1 12 breast measure. armhole, and draw up collar in regulation way.
Rule a line from B to 17 and out. For double breasted see d^sh lines.

X to Q is 1/6 breast measure. From I to 20 is 4 in.

Shape as indicated from O to I, and down. to 19 is 4 in.

K to 11 is 34 in. 18 to 21 is 4 in.

Shape back as shown in illustration by starting ]/% Peak lapel according to taste.

in. above line at point A, from A to R, R to 11, 11 to 2, Make width of lapel 33-^ in.

2 to 3, 3 to 10 and down to 5. Shape as shown by dash lines and regular

Apply waist measure from 3 to M and to 8. double-breasted coat is complete.

28
Single and Double Breasted Sack Overcoat

DIAGRAM NO. 6.
 The Frock Coat
The frock coat, as worn in the twentieth century, The strict regulation as to what is proper in the

is a heritage handed down to us by our ancestors. cut and material of the double-breasted frock, ex-

It is a modification of the coat which has been worn tends also to the accessories of the costume which

by gentlemen for hundreds of years, and is today as are worn with it.

much worn by all classes, which have always affected

A standing, or poke collar, a white shirt, an As-
it, as ever.
cot or puff tie of cream or gray, silk hat, patent leather
Today the frock coat is worn usually by profes-
or varnished shoes, and white or gray gloves are re-
sional men, the better class of business men, and for
garded by well dressed men as correct, and the fash-
formal day dress.
ion is not likely to change for several years.
The double-breasted frock, or Prince Albert, pop-

ularized by the late Prince Consort of England, has The single-breasted frock in its various models

grown into the correct garment for formal day dress. is very generally worn by professional and business

For day receptions, weddings, church wear, etc., men as a business coat. The tendency in that direc-

it is the only correct garment. As in other dress tion grows steadily stronger every year, as most pro-
garments, there is little variation in general design fessional men want to wear something different in

from season to season, the changes in model which design from the ordinary sack coat.

mark the necessary differences in fashion being mainly

As a business coat much more latitude is allowed
in the collars, lapels, facing, the nmnber and placing
in the accessories worn with the single-breasted frock,
of buttons, etc.

With the double-breasted frock, which is usually

than with the double-breasted. Any of the business

made from black or Oxford gray materials, trousers collars, a four-in-hand tie, and a soft or derby hat

of gray striped worsted are worn, although if a fancy may be worn, although if the coat is black, a silk hat

vest is part of the costume, the trousers should be of and other accessories as worn with the double

the same material as the coat. breasted frock mav be worn for semi-dress.
 Frock Coats

t^S

SINGLE BREASTED, OR MORNING FROCK.

DOUBLE BREASTED, OR PRINCE ALBERT
 Outline for Body of Frock Coat
Measures Used
Breast 36 in. Seat 37 in.

Waist 32 in. Height 5 ft. 8 in.

To DraLft

Square out and down from A. Rule a line from W to R.

A to V is Yi breast measure. Square back from K, finding point Z.

V to B is 3 in. Rule a line from X to Z.

A to C is 3-4 of height. L to M is 2 in.

C to D is V/o in. C to U is 3/ in.

Square out B, C and D. Square down from U.

B to F is % breast measure. Rule a line from V to U.
F to H is 1>< in. U to 8 is 3^ of breast measure.
Square up from H. K to 23 is Yz breast measure.
B to S is J<2
breast measure. Shape as shown by iUustration from 23 to 8 and
S to G is 33/2 in. down.
Square up and down from G. M to 4 is J^ waist measure.
G to W is 1/6 breast measure. 4 to U is waist suppression, which is divided into
B to N is breast measure. three equal parts, as Figs. 4, 2 and 3 indicate.
N to I is 234 in. 8 to 7 is same distance as from 2 to U, or % of
Square down from I. waist suppression.
Sweep backward from point 1, using G as a pivot. Square up and down from 7.

1 to X is >4 in. 7 to 6 is J4 waist measure.

Square out from X. Rule a line from S to 6.

X to O is 1/6 breast measure. 22 to 9 is 1/6 breast measure.

Rule a line from Q to I. O to P is 1/6 breast measure.
A to T is 1/6 breast measure. Rule a line from J to P.

T to R is ^ in. Rule a line from G to 23.

32
Outline for Body of Frock Coat

33
 Three Button Frock— continued from outune

A to E is 5^ height plus 2 in. From to 19 is I'j in.

24 to 10 is J4 in.
From 26 to 25 is 3 in.

shown by from 25 to 18, 18

23 to 13 is ^ in. Shape as illustration

Shape back of side body as shown by ilhistration to 19 and down to 9.

from 13 to 7, 24 and 10. 9 to 12 is >'2 in.

K to 11 is yi in. 10 to 14 is 1 -j seat measure.

Shape as shown by illustration from % in. above 14 to 15 is 1/12 seat measure.

A to R. R to 11 and 11 to 23. Rule a line from 10 to 15 and down.

From 6 to 5 is same distance as from 4 to 2, or From 10 to 17 is same distance as from D to E

% of waist suppression. plus 14 in.

Shape as shown by ilhistration from S to 6 and From 12 to 27 is same distance as from 10 to 17

down to 20, and S to 5 and down to 21. minus 1 in.

Shape bottom of side body from 10 to 20, and Shape top of skirt as shown in illustration from

shape bottom of front part as shown by illustration J4 in., above point 10 to point 12.

from 21 to 9. Shape front and back of skirt as shown by solid

X to Y is same distance as from R to 11 minus lines from 10 to 17, extending J-j

in. opposite point

15.
Vs in.

Shape armhole as shown by illustration from Y Shape bottom of skirt as shown by illustration

to 13. from 17 to 27.

Shape shoulder from Y to X, and shape neckhole Take out a \^ in front part as shown in diagram.

Take out \' front of neckhole and finish as

from X to P and out. in

From I to 18 is 1 3/2 in. represented.

C o 1 1 a. r

Draw a line from 18 to ^4 in. in front of point Shape 'as shown in illustration from 30 to 29

X and up. and from 29 to 31.

From 25 to 32 is I'j inches.

From X to 29 is 1/6 breast measure.
32 to 33 is 1-34 inches.
29 to 30 is 1%. inches. Shape as shown in illustration from 30 to 32,

29 to 31 is 2 inches. 31 to 33 and 33 to 32.

Three Button Frock
 Double Breasted Frock Coat
Me8LS\ires bls Follo^vs
Natural waist . . . .
. 17 in. Seat 37 in.

Fashionable waist .18>4 in. Height 5 ft. 8 in.

Full length .40 in. Weight 135 lbs.

Breast .36 in. Attitude Normal

Waist .32 in.

To Dra^ft
.Square out and down from A. 4 to U is waist suppression, which is divided into

A to V is 1.3 breast measure. three equal parts, as Figs. 4, 2 and 3 indicate.

Y to B is 3 in. 8 to 7 is 73 waist suppression, or same distance

.\ to C is natural waist length. as from 2 to U.
A to D is fashionable waist length. 7 to 6 is J4 waist measure.
A to E is full length of coat. 5 to 6 is % waist suppression, or same distance
as 4 to 2.
'

Square out B, C, D and E.

B to F is 1/3 breast measure. Square down from 7. 24 to 10 is % in.

F to H is \y2 in. Draw a line from G to 23. 23 to 13 is 3/^ in.

Shape shown by from and

B to S is ^ breast measure. as illustration 13 to 7

S to G is V/2 in. 24 to 10.

G to W is 1-6 breast measure. Shape from S to 6 and 20.

B to N is breast measure. Shape from S to 5 and 21.
N to I is 2^4 in. Shape from 10 to 20 and from 21 to 9.

Square down from I. Q to P is 1-6 breast measure, plus J^ in.

Square up from \\'. Rule a from yi in. forward of J to P.

line

Square up and down from G. X to Y

same distance as R to 11, minus fg in.
is

Square up from H. Shape armhole from Y to 13.

A to T is 1/6 breast. Shape shoulder from Y to X.
T to R is ^ in. Shape neckhole from X to P.
Rule a from
lineto R. W Lay your square level from 9 to 22 and draw a
Sweep back from point 1, using point G as a straight line up to 26.

pivot. 9 to 12 is 2V2 in. 28 to 27 3K m.

1 to X is >4 in.
Peak lapel according to style.

Square back from point K, finding point Z. 26 to 25 is 3 in.

Rule a line from X to Z. Shape from 26 to 25, from 25 to 27 and down to

Square out from X. 12.

X Square down from 12 by fashionable waist line.

to Q is 1/6 breast measure.
L to is J4 waist measure.
12 to 23is 9 in. 23 to 24 is in. %
Shape as shown by illustration from to I, and Rule a line from 12 to 24 and down.
down. Add % in. to top of skirt at point 10 and shape
22 to 9 is 1/6 breast measure. top of skirt as shown by illustration from 10 to 12.
C to U is y, in. 10 to 14 is % seat measure.
.Square down from U. 14 to 15 is 1/12 seat measure.
Rule a line from V to U. Rule a line from 10 to 15 and down.
U to 8 is J/g breast measure. 10 to 17 is same distance as from D to E, plus

K to 23 is Yi breast measure. y2 in.

K to 11 is y2 in. 12 to 19 is same distance as 10 to 17 minus 1 in.

Square down from 8. Shape back of skirt from 10 to 17 extending

Add yi in. to top of back at .A, and shape as y2 in. at 15, and bottom of skirt from 17 to 19 as
shown by illustration from A to R, R to 11. 11 to 23, shown in illustration.
23 to 8 and down. Take out a V in front part as shown.
L to M is 2 in. Add I3-J in. to back from D and down and finish
AI to 4 is J4 waist measure. as shown.
Double Breasted Frock Coat

37
 Frock Coat for Corpulent Figure
Measures as Follows:
Natural waist 17 in. Breast 42 ni.

Fashionable waist IS^/j in. Waist 42 in.

Full lensrth 2,7 in. Seat 43 in.

To Draft
Square out and down from A. every inch the man measures over normal at waist.

A to V is 1/3 breast measure. In this instance, being 4 in., J4 in. would be taken out
V to B is 3 in. between 25 and 27.

A to C is natural waist length. L to M is 2 in.

A to D is fashionable waist length. M to 4 is j.4 waist measure.

A to E is full length of coat. 4 to U is waist suppression, which is divided into
Square out B, C, and E. D three equal parts as Figs. 4, 2 and 3 indicate.
B to F is % breast measure. From 8 to 7 is 73 of waist suppression, or same
F to H is ly. in. amount as from 2 to U.
B to S is y, breast measure. 7 to 6 is ,'4 waist measure.
S to G is 3^/2 in. 6 to 5 is i/i'i waist suppression, or same amount
G to W is 1/6 breast measure. as from 2 to 4.
B to N is breast measure. Square down from 7.
N to I is 214 in. Point 10 is •)4 ill. below fashionable waist line.
Square down from I. From 9 to 12 is, first V2 in., same as in normal,
Square up from W. plus the amount which is taken out between 25 and
Square up and down from G. 27 In this instance from 9 to 12 would be 1 in.
.

Square up from H. 23 to 13 is y^ in.

A to T is 1/6 breast measure. Shape from 13 to 7 and down.
as per illustration
T to R is ^ in. from S to 6 and down.
Shape
Rule a line from to R. W from S to 5 and down.
Shape
Square back from K, finding point Z. from 10 to 20, 21 to 27, and shape top of
Shape
C to U is 5^ in. skirt as shown in illustration from 10 to 12.
Square down from U. 10 to 14 is seat measure. "':')

Rule a line from V to U. 14 to 15 is 1 '12 seat measure.

U to 8 is J^ breast measure. Rule a line from 10 to 15 and down.
K to 23 is y% breast measure. 10 to 17 is same distance as from D to E plus
K to 11 is J^ in. K' in.
Add y^ in. to top of back at A, and shajjc as 12 to 26 is same distance as from 10 to 17. minus
shown in illustration from A to R. R to 11, 11 to 23, 1 in.

23 to 8 and down to 16. X to Y

same distance as R to 11, minus y^ in.
is

Sweep back from 1 to X, using point G as a pivot. to P

1/6 lireast measure.
is

1 to X is first y2 in, then add y% in. for each

; Shape armhole from Y to 13; shoulder from
inch waist measure is over proportion. In this case Y to X, and neckhole from X to P.
the waist is 4 in. over normal ; for that reason the 1 to 18 is l;/' ill-

total amount from 1 to X in this instance is 1 in. to 19 is 1'4 in.

Rule a line from 1 to Z. Extend width of laix'l desired, and shape same,
Square out from X. as well as front, front of skirt, bottom of skirt, and
X to O is 1/6 breast measure. shape as shown by illustration from 10 to 17 on back
L to is 1/ waist measure. of skirt, and a three-button frock is finished.
Rule a line from O to I, and down. For double breasted effect shown by dash lines,
22 to 9 is 1/6 breast measure. see normal draft of double breasted frock, as the
Square back from 9. shape of front and skirt is identical with it.
9 to 25 is 34 waist measure. The technical part for V in front and more
Take out a Y between 25 and 27 of J/^ in. for crooked shoulder are the same as for this diagram.
Frock Coat for Corpulent Figure

DIAGRAM No. 10

39
 Biagram for Stout Figure

DIAGRAM No. 11

Mea-sures:
Breast 46 in. Waist ?0 in.

All regular points are obtained in the same man- Then apply waist measure on the J^s from 30
ner as for corpulent coat with the following additions to 4.

and deductions 4 to C is waist suppression and is divided in the

I to 33 is ^ in. usual manner.
to E is extra y% in. for every inch the subject 5 to 31 is same distance as I to 33.
measures more over waist than breast.
Shape from O through 33 to E and square down
G to 32 is same distance as I to 33.

from E. Take out the difiference between S and 31, as per

Point M is obtained in the same manner as in diagram, also shape armhole, and if for sack coat,
regular draft. perform the same operation and take out the excess
M to 30 is same distance as to E. at side seam, as shown by dash lines.

iO
 Definitions of Types
Second Section of Measurements
Having completed the study of Section 1 (Measurements), as well as drawing proportionate

patterns from Height and Circumference, and the section on Exaggerations, we now arrive at the

definition of types. In actual practice the Definition of Types comes immediately after the First

Section of Measurements, and for this reason we have so arranged the illustrations. In order to ex-

plain the subject in a comprehensive manner a number of types in figures, illustrated, are introduced,

with the idea that the student may study the types and forms of men, and fix in his mind the reg-

ular code of types of variations from the normal figure.

A subject can be either:

Sloping or Square Shouldered.

Large or small blades.

Stooping or Erect.

Head forward or backward.

Long or short neck.

The degrees of these variations from the normal are three in number and are termed:

1. Slight inclination.

2. Medium inclination.

3. Extreme inclination.

These degrees of deformation hold good in any of the above stated types from the normal. There-

fore, after having taken the measurements stipulated in Section 1, as well as registering height and
weight, and ascertaining the style of garment desired, make a thorough examination of the custom-
er's figure and attitude. Find the inclination at back of neck by placing the yard stick in position

of the straight line shown in illustration of Relative Heights, and with the regular tailoring square

pressed against the neck point, ascertain the distance from the neck-point to the yard stick. The

normal inclination is 2^ inches. If the distance is greater it indicates that the customer is stooping

or holds his head forward. If distance is less it indicates that he is erect or holds his head backward.

To a student with an active mind a mere glance will suffice to give character to the form and classify

the type. By first viewing the customer from the front a cutter is able to ascertain whether he is

sloping or square shouldered, and in what degree, also, to notice the development of the muscles

and whether he is broad or narrow chested. Next it is well to view the customer from the side or

profile. This will enable the cutter to notice and stipulate in what degree the customer is stooping, or

erect, using the inclination as a guide, or whether he holds only his head forward or backward,

and in what degree. Next, observing the customer from the back will enable a cutter to notice

and stipulate in what degree the customer has large or small blades or long or short neck. In order

to give the final idea of the extent of the degree of deformation five different illustrations are shown,

of which all, with the exception of the Normal, show the Second degree of variation from the Normal.

^S^;:

Fig. 1. Normal. Fig. 4. Erect.

Fig. 2. Square Shoulders. Fig. 5. Stooping.
Fig. 3. Sloping shoulders.

In providing for the requirements of the different forms we constantly come in contact with

two or more types in one subject. For example, a man can be both Sloping and Stooping, or he can

be Sloping, Stooping and have large blades, and also have a long or short neck in that connection; or

he can be Square, small blades and erect, etc., etc. (See Figure 5 for Sloping, large blades and Stoop-

ing, and Figure 7 for Square, small blades and Erect.)

 In studying the various types for the different subjects be sure that the illustrations pertaining

to them are thoroughly understood. Then picture to yourself the three different degrees. Place

yourself before a mirror and arrange yourself first in the Normal position, then in the first, next in

the second, and finally in the third degree of Square.

Next arrange yourself as nearly as possible in the three degrees of Sloping. When this is done

study your own form for large or small blades. Stooping or Erect, etc., and whenever in public

places notice the different types and forms of men. Ascertain whether this or that man has a long or

short neck, or any other deformation, and in what degree. The sooner you accustom yourself to

this study the better it will be for you. Always carry in your mind the Normal and notice the varia-

tions from it and fix the degree. It will surprise ycu to find that in a comparatively short time you
will be able to classify the different types and stipulate the degree of variation with promptness and

exactness so that you can apply them in actual practice.

The Second Section of Measurement consists of defining all the types and degrees of variation, and

should, therefore, be entered on your order book just after the First Section of Measurements and
before taking direct measures, so as to be sure that the variations have been thoroughly stipulated, as

variations in drafting belong to the scientific part.

These deformations of types and degrees of variation must be thoroughly defined before taking
or applying direct measures. Therefore, stipulate in your order book as Section 2 whether the cus-

tomer is Normal
Or square in the first, second or third degree.

Or sloping in the first, second or third degree.

4.1
 Or large blades in the first, second or third degree,

Or small blades in the first, second or third degree,

Or stooping in the first, second or third degree.

Or erect in the first, second or third degree.

Or long neck in the first, second or third degree.

Or short neck in the first, second or third degree,

Or head forward in the first, second or third degree.

Or head backward in the first, second or third degree.

Then, again, caution should be exercised in stipulating the degree of the above types, as in draft-

ing, the application of them will have prompt effect on the pattern. Therefore, do not try to find fault

with the form of the customer if on careful examination no noticeable inclination to any of the above

stated types can be found, as practice has demonstrated that a garment produced from a good propor-

tionate pattern will fit at least one-half of the men of the same height and circumference. Therefore,

if the inclination to a certain type is so slight that it is hard to distinguish, I would advise to cut a pro-

portionate shoulder in the pattern.

Incline

How to obtain the incline is illustrated in Relative Heights. For application to draft see Varia-

tions. The incline measurement is taken with the view of ascertaining whether the customer is stooping

or erect, head forward or backward, or whether he has large or flat blades, and is a valuable resource in

conjunction with definition of types and in stipulating degrees of same. 2^4 in. is normal incline, 3^ in.

either more or less than normal means one degree. For example : If the distance is 2^ in. the cus-

tomer is either stooping, or has head forward, or has large blades in the first degree, and for each addi-

tional Yz in. of incline the customer would be stipulated an additional degree. If the customer measures

less than normal the incline indicates whether erect, head backward, or has small blades, in either first,

second nr third degree, according to the amount he measures less than normal.

The incline is obtained by placing the yardstick perpendicularly against customer's back, and with

regular drafting square press against neck point. The distance on the measuring square from yardstick

to neck point is the incline. For positions of incline see illustration Relative to Heights. For further

instructions see Second Section of Measurements in connection with Definition of Types, and for appli-

cation to drafting see \^ariations.

44
 Variations

Diagram A illustrates variation of head forward Point C is half way between A and B. Square
or backward in second degree. out from C.
Point 12is half way between C and D.
Solid lines show normal shoulder ; dotted lines
Sweep up and down from A, using point 12 as
illustrate variation of head backward ; dash lines il-
a pivot, and sweep up and down from X, using point
lustrate variation of head forward. 12 as a pivot.

Head Forward
Stipulate degree of variation for head forward by line from point 2 as indicated by dash lines, thereby
either J4 in-- Y^ in. or ^ in. from A to 2 and X to 8. finding point 8 on front shoulder.
Rule a line from 2 to Z and square out by same

Head Backward
For head backward stipulate degree by either 34 point 7 on front shoulder,
in., 2 in. or %in. from A to 3 and X to 7. The other lines e.xplain themselves. Always study
Rule a line from 3 to Z and square out by same inclination and definition of types in connection with
line, as illustrated by dotted lines from point 3, finding thi s fliaarram.
 Variations

^h^^'m^^ ^V^<>1

Stooping
Diagram B illustrates variation for stooping and Draw a line from 12 to H and out as shown by
erect. dash line.

Solid lines illustrate normal, dash lines show Square up from same line from W, G, H and 12.
stooping, and dotted lines illustrate erect. 12 to 2 is y^ breast measure, plus 3 in.
Point H is half way between W and B. Square out from 2 by dash line, finding point 8.
Stipulate variation by 34 '"> 3^ in. or y^ in. from Shape back, armhole, shoulders and neckhole as
B to 12. shown by dash line for stooping.

Erect
For erect, stipulate degree of variation 34 i") V^ Shape back, armhole, shoulders and neckhole as
in. or % in. from B to 13. shown by dotted line for erect.
Draw a line from 13 to H and out as shown by Always study definition of type and inclination in

dotted breast line. this connection, and thoroughly stipulate degree of

variation.
Square tip from dotted line from W, G, H and
Width of back, the depth of neckhole as from
point 13.
Q to P, 10 to 15 and 9 to 14, are each 1-6 breast, the
13 to 3 is 1 3 breast measure, plus 3 in.
same as in normal coat. All points below breast line
Square out from point 3 as shown b)' dotted line are found in the regular manner subject to variations
and find point 7 and manipulations for sizes.
 Variations

Diagram C illustrates large and small blade. ample, from FI to 6 is same distance as from G to 8,

Solid lines show normal, dash lines show large blade anil from FI to 5 is same distance as from G to 7.

and dotted lines show small blade.

Shape back, armhole and shoulders as shown
Stipulate degree of variation by either 34 "''v /^
by dash lines for large blade ; sharp armhole,
in. or % in., varying from G.
shoulder, and back as shown by dotted line for small
G to 7 is for large blade and G to 8 is for small
blade.
blade.
Always study definition of types and inclination
It will be clearly seen that the' width, of back
same direction For ex- in connection with this diagram.
moves in as front of scve.
 Variations

Diagram D illustrates sloping and square shoul- For Sloping

ders. Solid lines show normal, dash lines illustrate Stipulate degree of variation by either ^ in., yi
sloping, and dotted lines illustrate square.
or ^4 from point B
in. ^n. to point 3.

For SquaLre Square out as shown by dash line.

Stipulate degree of variation from point B by
either 14 i"-, >2 in. or 34 in. from B to 2.
K to 4 is same distance as B to 3 ; Y to 7 is same
distance as B to 3. Shape shoulder, armhole and
Square out from point 2; from K to 5 is same
front shoulder as shown by dash line for sloping.
distance as from B to 2 and Y to 9 is same distance as
from B to 2. Always study definition of types in connection
Shape as shown by dotted line for square. with this diagram.
 Variations,

Diagram E illustrates long and short neck. Shape top of back and front shoulder as shown
by dotted line for long neck.
The arrow shows point 1 and is half way be-

Short Neck
tween B and W.
Stipulate degree of variation by Y^ in., Yz in., or
Long Neck % in. from A to 3 and from X to 7.

Rule a line from 1 to X and out. Square out from point 7 by balance line.

Shape top of back, front shoulder and neckhole

Stipulate degree of variation by ]\ in.. >'< in., or
as shown by dash line for short neck.

^4 in. for long neck from A to 2 and X to 6.

Always study definition of type, in connection
Square out from 6. with this diagram.

49
Sleeves
All sleeves must be produced from the size of
armhole. Therefore, always measure your armhole
and whatever the armhole is in circumference use
that for 3-our size of sleeve.
For example, if your armhole or scye is 18 in.

in circumference use 18 as a drafting size for your

sleeve.
This sleeve produced from an 18 in. armhole
is

and is 18 in. in length from the armpit to the hand.

To Dracft
Square out and down from .\.

A to C is 1/12 arm-scye.
A to B is % arm-scye.
B to E is 1/6 arm-scye.
B to D is 1 in.

B to P is full length of sleeve.

P to R is V.A in.

K is half way between B and P.

Square out C, B, K and R.
A to F is 54 arm-scye.
A to G is 3^ arm-scye.
Square down from G.
H to J is 3^ arm-scye.
C to L is 3^ arm-scye.
P to N is 63/2 in., making a finished cuff ol 12
inches.
Shape as shown in illustration from D to L, F
and H.
Rule a line from E to J and shape as shown in
illustration from D to J.
Shape from H to N.
Shape from P to N.
Shape from J to O and N.
K to 5 is ^ in.

Shape as shown in illustration from D to 5 and P.

If seam is desired under the arm add }^ in.
from B to 1 and P to 3.
Shape as shown by dasji line from D to 1, and
1 to 3.
Reduce the under-sleeve 'V^ in. from B to 2 and
P to 4 and shape from 2 to 4.
 Sleeve for Stooping Sleeve for Narrow and
and Erect Broad Shoulder

In sleeves for stooping and erect balance line

at must be changed
front as shown by dotted and
dash lines on diagram.

For Stooping If shoulders are narrow a high top is necessary

Dotted lines indicate stooping. on the sleeve, and if shoulders are wide the top of
by 3/2 in., 1 in. or
Stipulate degree of variation sleeve should be less. Therefore, in the diagram per-
taining to high and low tops on sleeves, the dotted
\y2 in. from P to 2. Shape top and under sleeve as
shown by dotted line from H to 2 and J to 2 and — lines illustrate the high top and the dash lines the

from D to 2. low top. The construction lines are the same as in

For Erect the normal sleeve, which has been explained, but it

Dash lines indicate erect. must be understood that the amount you reduce the
Stipvjlate degree of variation by J4 in., 1 in. or width of shoulder must be added to the sleeve and
1^ from P to 1. Shape top and under sleeve as
in. the amount you widen the shoulder of coat must be

shown by dash lines from H to 1 and T to 1 and — taken from the sleeve. Earnest attention should be
from D to 1. oiven to this in drafting.
 Direct Measures
Third Section of Measurements

Having in the First and Second Sections of Measurements illustrated and instructed the manner
and order in which measurements should be taken, as well as the Definition of types and the Degrees of

Deformation and application to draft of these variations, I would like to have it understood that, while

all measurements, as well as the Definition of Types, are a matter of judgment, that in application to
the draft, the proportions, heights and circumference, as well as variation of attitudes, all spring from

the same principle, and are, therefore, the fundamental and scientific part of this work. Measures
heretofore taken in connection with the fundamental principles we shall, therefore, term proportionate
measures, as they have reference only to lengths and circumference. Short, or direct measures are

from the scientific point of view supplementary measures, as these measures can be taken from and to
any part of the body and applied to and from any part of the draft. The name in itself is aggravating,

and it would be unwise to rely on these supplementary measures for symmetry and grace, but in con-

nection with fundamentals they act as a guide to attitudes. While proportions and variations have in

the past been considered, and in fact, are a system in themselves, direct measures have also been

known as an independent method for the production of clothes. Modern developments and practical

application of both principles and theories are not only beneficial and practical, but a necessity, hence,

this combination of the two principles: a methodical way of measurement, and application in connec-
tion with fundamental and scientific proportions and variations. The term measuring means the
application of the measuring tape to and from different parts of the body, thereby ascertaining that

one part of the body is so many inches from another. If the space on which the measuring tape is

applied differs from one side or the other, the different quantities of surface on which it was applied
are either smaller or larger than normal. This is the theory of measurements and should be so under-
stood. The most essential direct, or supplementary measures are as follows

Slope of shoulder. Blade measure.

Depth of Scye. Front measure.
Waist length. Strap measure.

Length to seat. Over shoulder measure.

The chalk marks made on the customer's back when proportionate measures were taken are meant

to indicate the different stations for supplementary measures. In taking these direct or supplementary
measures the utmost care should be exercised in order to have them as nearly correct as possible,

as mismeasuring would cause all kinds of trouble in patterns and try-on. Toward this end it is hereby
suggested to the student that he procure for himself a measuring square on which the various propor-
tions of these measurements are stipulated, and with the tape attached to the angle of this square we
will now, in a methodical way, proceed to take these supplementary measures. In measuring, stand

behind the customer and place the end of the tape at point A, Plate 4. Pass the tape through your
right hand to point Z, Plate 4, and register the measure for slope of shoulder. Next, pass the tape
through the right hand to point B, Plate 4, and register the measure for depth of scye. Next, let the

tape pass through the right hand to point C and register waist length from A to C, Plate 4. Next, pass
 'Direct Measures

FU\e ± rii^^t 5.

r.3
the tape through the right hand to point D, and register length to seat, from A to D, Plate 4. Now,
place the measuring square under the left arm. Be sure said square is placed well under the arm,

but not so high that it would raise the shoulder of the customer. Particular care should be taken to

ascertain that the square is placed exactly level. Now, recall the breast measure taken in the First

Section of Measurements. Find the same figure on the square. Also, proportion figures for the sup-

plementary measures in this connection, and while it is not certain that the measures taken will

correspond with these proportionate measures, it will materially assist in obtaining better measure-

ments than without these tables of proportions. Having the square properly placed, etc., as shown in

illustration of front view, Plate 5, proceed to take measures as follows:

From H of front view, Plate 5, under arm to B on back view, Plate 4, register blade measure.

Next, turn tape around and over breast, and hold square in same position, and register front meas-

ure from H to X, as per front view, Plate 5. Next, turn tape around and up on shoulder and to back

of neck, and register strap measure from H on front view, Plate 5, to A on back view, Plate 4. Next,

turn the tape over shoulder to point B, and register over shoulder measure from point H front view,

Plate 5, to point B of back view, Plate 4. The complete measurements for a coat of the style of the

ideal model for Supreme System you have entered in your measuring book stand as follows

Length 29 inches Seat 37 inches

"
Width of back 14 " Sleeve 18^
Breast 36 " Height 5 feet 8
Waist 32 " Weight 135 pounds

Incline ly^ inches

Shoulder slope 3 inches Blade 11 inches

Depth of scye 9 " Front 7 "
"
Waist length 1?!^ Strap 12 "
"
Length to seat 23^ Over shoulder 17 "

While these are all the measures necessary, additional measures can be taken to and from any

point of the body and incorporated with other supplementary measures and applied in the same man-
ner over draft, but practical cutters do not take more measures than necessary, for the reason that it

would be confusing, and my advice to beginners is to stay as near fundamental principles as possible,

because supplementary measures are difficult to obtain correctly. By using proportions and variations

as heretofore stipulated, apply these measures for your own satisfaction, and where direct, or supple-

mentary measures differ from the fundamental, give proportions and variations at least half the bene-

fit by cutting difference between the two points in two, placing the point in the middle. Direct meas-

ures are of more value to the experienced cutter or advanced student, as by experience they have
learned to take measurements with more exactness, so in application they are more experienced, con-

sequently, they more thoroughly understand the value of these measures. The truth, however, is that

a good, experienced cutter always lays up his proportions subject to height and circumference. He
applies his variations to the draft according to the definition of attitude so as to place the different

points in position for measurements and finally applies direct measurements as he finds practical and

divides the difference between the fundamental and direct measures, as my advice to beginners shows.
 Application of Measurements

Mea-sures Ots Follow^s

Breast 36 in. Depth of scye 9 in.

Waist 32 in. Blade H i"-

Strap 12 in.
Height 5 ft. 8 in.

Attitude Normal

Obtain all scientific points by regulations for cir- B to 8 is blade measure.

cumference and height. 8 to G is 1>4 in. (addition necessary to blade

Rule a line from X to G and down. measure for make up).

From G to AA is 1/6 breast measure (or same Apply strap measure plus J4 in. from AA to X,

A to T). and the three most essential measures have been ap-
distance as from
Apply measure for depth of scye from A to B plied to draft with the proper additions. Read third

(no addition). section of measurements.

 Application of Measurements

Mea.sures a.s FolIoNvs:

10/4 in.
Breast ^8 in. Depth of scye
Blade 12 in.
Waist -56 in.

Strap 1-^34 in.

Height 5 ft. 10 in.

(For large blade second degree, long neck sec- Width of back 7^ in.

ond degree.)

To Dratft
First lay up normal draft subject to height and Apply blade measure plus V/z in. from B to D.
circumference. (Note that point G is normal.)
Promptly note variations and degree of same and Apply strap measure, plus yi in., from AA to X.
apply them to draft as shown in illustration of varia- Apply measure for width of back, plus ^ in.,
tion (see Diagram C and E on Variations), thereby as shown in illustration.

placing your draft in position for measurements. Apply waist measure in regular manner from 12
Draw a line from X to D and down. to 13 and 9 to 5.

D to AA is 1/6 breast measure, or same dis- Add 3>^ in. for shape up on side of front part
tance from 6 to 3. at waist.

Apply measure for depth of scye from B to 6. Read third section of measurements.

56
 application of Measurements

Me&sures a.s Follows :

Breast 40 in. Blade 12 in.

Waist 40 in. Strap 1354 in.

Height, 5 ft. 8 in., stooping in second degree and Over-shoulder 18^ in.

sloping in second degree. Front 8 in.

Incline iyk in. Width of back 8 in.

Depth of scye 11 in.

To Draft
First lay out your normal draft subject to height Apply depth of scye from 7 to 4.
and circumference. Apply blade measure plus 1^/2 in. from 7 to D.
Stipulate stooping in second degree as per Defi-
Apply strap measure, plus '< in., from AA to X.
nition of Types and incline. (See Diagram B —Vari- Apply over shoulder measure, plus 1 in., from 7
ations.)
to 14 and D to J.
Next slope same in second degree. (See Diagram
D — Variations.) Apply measure for width of back, plus J^- in., as
Draft is now in position for measurements.
shown in illustration, and apply front measure, plus
Draw a line from X to D and down. % in., from D to E.
D to AA is 1/6 breast measure, or same distance Apply waist measure in regular manner.
as from 4 to T. Read third section of measurements.

57
 Application of Measurements

DIAG. N.

lOl _5T
Li asl cn| -$1 ^1 iai d ^1 SI ^g

MeaLSures bls Follows

Breast 36 in. Blade 10^ in.

Waist 30 in.
Strap in.
11J4
Height 5 ft. 4 in., erect in second degree, small
Over-shoulder 15^ in.
blade in second degree, square in second degree.
Width back 6i^
Incline 1 M in- of in.

Depth of scye 7% in. Front TYi. in.

To Dracft
First lay up regulation draft subject to height Having finished these preliminaries, the draft is

and circumference. now in position for measurement.

Promptly note variations. Apply all measurements and allow same addi-
Small blade shown from G to D on this dia-
is
tions as previously illustrated and explained in these
gram ; also as shown by illustrations Diagram C
Applications of Measurements ; also note that these
Variations.
Next erect draft as per incline and definition measurements call for small waist, therefore, take

of types as stipulated in Diagram B- -Variations. out a V in side and add 2 seams, or }4 in., to side of

Next square same as shown by regulation illus- front part as shown by direction in diagram 2 show-
trated in Diagram D — Variations. inof small waist.

58
 application of Measurements

This diagram is produced for the purpose of il- ured in with the measurements, and these are the

lustrating how measurements are appHed in connec- - only three short measures to be applied in connec-

tion with exaggerations, and it will be clearly seen tion with proportions and variations for an exagger-

by illustration that depth of scye and strap are ap- ated coat.

plied in same manner as usual, as well as that of In connection with the study and practice of these

blade, with 1>4 in. addition, which is the total distance diagrams, thoroughly study the different types, height,

from B to G. circumference and exaggerations; also, the three dif-

ferent sections of measurements. Be sure to read the

See Diagram Page 27 on Exaggerations. introductory articles, as well as that on Theory and

G to D is the amount the coat is exaggerated, Practice, and try to commit same to memory, as all

and this amount is allowed for draping necessary in of these have direct bearing on these drawings and

an exaggerated garment, and is. therefore, not fig- explanations.

59
 Hunchback
This diagram illustrates the manner in which a Seat 36 in.

coat is drafted for regular hunchback. While same Squared 1/4 in.

can be produced from proportions and variations, Head forward in third degree.

actual measures are of more value for a subject of this Direct measures applied:
Upper width of back 14 in.
kind than for any other.
Measures used as follows: Lower width of back 15 in.

Waist length 15 in. Depth of scye 7^ in.

Length to seat 21 in. Blade 1 in.

Full length 26 in. Front measure 7 in.

Breast 36 in. Strap 10 in.

Waist i2 in. Over-shoulder 16^4 in.

To Draft
Square out and down from A. Rule a line from 13 to M and down.
A to 18 is breast measure.% H to 22 is % in.

18 to 20 is 3 in. B to 19 is 34 in.

20 to B is 1^ in. for square. Place corner of square at 22, letting short arm of

A to C is waist length. same rest on point 19, and square down from 22.
A to D is length to seat. H to 15 is 1/12 breast measure.
A to E is full length of coat. 15 to 2 is J4 in.

Square out B, C, D and E. Apply measure for depth of scye from B to V.

B to F is ip. breast measure. Apply blade measure plus 1J4 in. from B to G.

F to H is \y2 in. Apply half upper width of back plus ^4 in. from
B to S is J^ breast measure.
Z to K.

S to G is 3j4 in. Apply half lower width of back plus 34 in. across

G to W is 1/6 breast measure. back at point 17, as shown in illustration.

B to N is breast measure. Rule a line from X to G and down.

N to I is 254 in. G to AA is 1/6 breast measure, or same distance
Square down from I.
as from V to T.
Square up from W. Apply strap measure plus 34 in. from AA to X.
Apply over-shoulder measure plus 1 in. from B
Square up and down from G.
to 25 and G to 26.
Square up from H.
Point 13 is half the distance between A to B.
Apply front measure plus in. from G to L %
Shape as shown in illustration from V to 13, V to
Square out from 13.
R, R to 11, 11 to 2, 2 to 4 and down.
Point 9 is half the distance between 13 to 7.
L to is 5^ waist measure.
Sweep up from A, using point 9 as a pivot. Apply waist measure from 4 to M and to 8.
Sweep forward from 1, using point 9 as a pivot. 8 to 3 is 334 in.

A to V is % in. Apply seat measure on % of divisions from 10

1 to X is ^ in. to 14 and U to 10.
Rule a line from V to X. 10 to 12 is l}i in.

V to T is 1/6 breast measure. Reduce front part 34 in. at point 2.

T to R is % in. Shape as shown by illustration from 2 to 3, 12
Rule a line from to R. W and down.
Square back from K, finding point Z. Sweep backward from point 5. using point 2 as
Rule a line from X to Z. a pivot.
K to 11 is same distance as B to 20, or lyi in. Sweep forward from 6 to 16, using point X as a

X to 21 is same distance as R to 11 minus 34 in- pivot.

21 to Y is same distance as B to 20, or I54 in. Shape armhole as shown in illustration from Y
Rule a line from X to Y. to 2.
C to M is 14 in. Shape shoulder from Y to X.

60
 Diagram for Hunchback

1 to 23 is iy2 in.
X to Q is 1-6 breast measure.
to 24 in-
shown in ilkistration from Q to I, and is 1J4
Shape as
Take out a V in gorge as shown in illustration.
down. and bottom.
Shape lapel, front
Q to P is 1-6 breast measure.
Place collar and pockets in regular manner and
Rule a line from J to P.
finish as shown.
Shape neckhole from X to P.

61
 Overcoats
The shifting and uncertain temperature wliich shoulders, and the sack or Chesterfield overcoat,

characterizes most of tlie northern hemisphere makes which may be more or less body fitting. The short

necessary an overgarment which may be put on or box overcoat is designed for riding, driving or country

removed to suit the differences in climate. wear and is called a covert coat, from the material

By common consent of well-dressed men the

with which it is usually built. The ulster is a long

overcoat has been adopted in America as the model for box coat.

this garment. Fashion in overcoats decrees many There is little change of design in garments made

changes, sometimes rapid, other times slowly growing, from either light or heavy materials, for wear in cool

or extremely cold weather, the material only makes

yet in late years the fashionable models have been

divided into the loose coats without a waist seam, the difiference between the spring and fall and tRe

and the frock overcoats, on the order of the New- winter overcoats.

market. In strictly dress overcoats, the Inverness with

a cape, for evening wear, has been the favored gar-

First one style and then the other has the vogue,
ment for a number of years, and while recently it has
but seldom do the two general designs become pop-
suffered an eclipse in favor of the sack overcoat,
ular at the same time.
there is reason to believe it is slowly coming back into
When the frock overcoats are in favor the straight
favor. Certainly no more graceful and becoming gar-
backed variety is usually not largely worn.
ment could be worn for formal dress.

The single-breasted frock overcoat is called the Sometimes a novel idea in overcoats comes to

Newmarket, the double-breasted the Surtout. the surface, but its reign is usually short lived. Such
In the straight falling style there are two mod- was the Raglan, which was so popular a few years

els, the straight, box back overcoat, falling from the

 Overcoats

FRONT AND BACK VIEWS OF

SINGLE BREASTED BOX OVERCOAT
 Exaggerated Single and Double Breasted Box Coat
Mea-surements Used a.re a.s Follows
Waist length 17i4 in Excess, four sizes.

24 Height, 5 ft. 8 in.

Length to seat in.
Attitude, normal.
Full length of coat 45 in.
Direct measures
Breast 40 in.
Depth of scye 9^ in.

Waist 36 in. Blade 12 in.

Seat 41 in. Strap 13 in.

To Draft
Square out and down from A. C to M is >^ in.

A to V is Vg, breast measure. Rule a line from V to M and down.

V to B is 3 in. From 14 to 18 J^ exaggerated breast measure.
is

Apply measure for depth of scye from A to B. Rule a line from S to 18 and down.
A to C is waist length. From H to 17 is 1 in.

A to D is length to seat. Rule a line from B to 17 and out.

A to E is full length of coat. K to 11 is 3-4 in.

Square out B, C, D and E. Add Ys, in. at top of back at point A.

B to 4 is %
regular breast measure. Shape as shown in illustration from A to R, R to
B to F is %
exaggerated breast measure. 11 and 11 to 2.
F to H is \y2 in. Apply exaggerated seat measure, which in this
B to S is 54 regular breast measure. casewould be 45 on the two-thirds of the divisions
S to 5 is 3^/2 in. from 18 to 14 and U to 10.
Apply blade measure plus lj4 in. from B to 5. 10 to 12 is 31/ in.

5 to G is 1 in., or ^4 in. garment

for each size the Reduce front part J4 in. at point 2.
is exaggerated, this garment being exaggerated from Rule a line from 2 to 12 and down.
40 to 44. Sweep backward from 5 to 6, using point 2 as
B to 3 is 1/6 regular breast measure. the pivot.
3 to W is J^ in. for each size the coat is exag- Sweep forward from 6 to 18, using point X as
gerated. In this case the distance from 3 to W is the pivot.
y2 in. Q to P is 1/6 regular breast measure.
B to N is exaggerated breast measure. Rule a line from J to P.
N to I is 2J4 in. Shape armhole as shown in ilUistration from Y
Square up from W. to 2.
Square up and down from G. Shape shoulder from Y to X.
Square up from H. Shape neck hole from X to P and out.
A to T is 1/6 regular breast measure. Extend a button-stand to front of 2 inches from
T to R is % in. I to 13, to 15 and 18 to 16 for single-breasted coat.
Rule a line from to R. W Add 1 in. to front length at point 18.
Square back from K, finding point Z. Shape front for single-breasted coat as shown by
Rule a line from X to G and down. solid lines.
G to AA is 1/6 breast measure, or same distance For double breasted, dash lines illustrate the front
as from A to T. part.
Apply strap measure plus J^ in. from AA to X. Extend 4 in. on front from points I, and 18.
Rule a line from Z to X. Peak lapel as shown in illustration.
X to Q is 1/6 breast measure. Make width of lapel at top 3^ in. and take out
L to O is half of regular waist measure plus V in the gorge, as shown in illustration.

% inch for every inch the coat is exaggerated. In Place the pockets down % of the sleeve length.
this case 1 in. For top coat as shown by dot and dash lines pro-
Shape as shown in illustration from Q to I, and duce same coat as heretofore described with the ex-
down to 18. ception of the length, which may be 34 to 36 in.
Exaggerated Single and Double Breasted Box Overcoat

65
Single Breasted Hewmarket and Double Breasted Surtout
Solid lines indicate front of Newmarket and dash Waist 36 in.

lines indicate the way the front is cut for surtout. Seat 41 in.

This diagram is produced from the following meas- Height 5 ft. 8 in.

ures: Attitude, normal.

Natural waist 17 in. Direct measures
Fashionable waist 18 J4 in. Depth of scye 9^ in.

Full length of coat 48 in. Blade 12 in.

Breast 40 in. Strap 13 in.

To Draft
Square out and down from A. 22 to 9 is 1/6 breast measure.
A to V is y^ breast measure. V to B is 3 in.
'1- L to M is 2 in. M to 4 is >4 waist measure.
A to C is natural waist length. 4 to U is waist suppression, which is divided into
A to D is fashionable waist length. three equal parts, as Figures 4, 2 and 3 indicate.
A to E is full length of coat.
8 to 7 is % waist suppression, or same distance
Square out from B, C, D and E.
as 2 to U. 7 to 6 is V^ waist measure.
Apply depth of scye from A to B.
B F
6 to 5 is % waist suppression, or same distance
to is Vs breast measure.
as 4 to 2. Rule a line from 23 to G.
F to H is \y2 in. B to S is J/4 breast measure.
S to G is 3y2 in.
, 13 to 23 is Yi in. 24 to 10 is ^ in.

Shape as shown in illustration from 13 to 7 and

Apply blade measure plus !]/> in. from B to G.
G to W
is 1/6 breast measure.
down to 10 and from S to 6 and 20; also from S to 5
and 21. Shape bottom of sidebody from 10 to 20.
B to N is breast measure.
N to I is 2]/^ in. Square down from I.
Shape bottom of front part as shown in illustra-

Square up from W. tion from 21 to 9 and out.

Square up and down from G. to P is 1/6 breast measure.

Square up from H. Rule a line from J to P and out.
A to T is 1/6 breast measure. X to Y is same distance as from R to 11 minus
T to R is ^ in. Draw a line from to R. W Y& in.

C to U is 3^ Square down from U.

in. Shape armhole as shown in illustration from Y
Rule a line from V to U. to 13.

U to 8 is J^ breast measure. Shape shoulder from Y to X.

Square down from 8. Shape neckhole from X to P.

Square back from point K, finding point Z. 1 to 18 is 2 in. to 19 is 2 in.

K to 23 is % breast measure. K to 11 is X' '"• Make width of lapel from 28 to 27, 3>-^ in.

Add Ys in- to top of back at point A and shape as Shape from 27 to 18, 19 and down to 12.
shown in illustration from A to R, R to 11, 11 to 23, Square down from 12 by fashionable waist line.

23 to 8 and down to 16 as shown by solid lines. 12 to 33 is 9 in. ii to 34 is Y& in.

Sweep back from point 1, using point G as a pivot. Rule a line from 12 to 34 and down. .

1 to X is ;^ in. 10 to 14 is % seat measure.

Rule a line from X to Z, and rule a line from X 14 to 15 is 1/12 seat measure.
to G and down. Rule a from 10 to 15 and down.
line

G to AA is 1/6 breast measure, or same distance same distance as D to E plus J/2 in.
10 to 17 is

as A to T. 12 to 25 is same distance as 10 to 17 minus 1 in.

Apply strap measure plus ^-j in- from AA to X. Add 34 in. to top of skirt at point 10 and shape
Square out from X by balance line. top of skirt as shown by illustration from 10 to 12.
X to O is 1/6 breast measure. Add y, in. at point 15 to back of skirt, and shape
L to is 3^ waist measure. as shown by solid lines from 10 to 17, and shape from
Shape from O to I. and down. 17 to 25. Take out a \' in front part as shown.

For Surtout
Note dash lines at front of coat. frock, with the exception that width of lapel averages

Level your square from 9 to 22 and rule up same Y2 in. wider.

The front of skirt is also produced in the same
as in double-breasted frock.
manner as double-breasted frock.
Lapels and front for surtout are produced in ex- Therefore, see diagram of same on another page
actly the same manner as those of double-breasted of this volume.
Single Breasted Newmarket and Double Breasted Surtout

67
 Inverness
MeeLSuremervts Used Are As Follows:
Waist length 18 in. Waist 36 in.

To seat 24 in. Seat 41 in.

Length 48 in. Length of cape 34 in.

Breast 40 in. Breast, waist and seat exaggerated 4 sizes each.

To Dracft
Square out and down from A. Square back from K, finding point Z.
A to V If', breast measure. Rule a line from X to Z.
V to B is 3 in. A to C is waist length. X to Q is 1/6 breast measure.
A to D is length to seat. L to is J 2 waist measure plus J4 in. for each
A to E is length of coat. size the coat is exaggerated.

Square out B, C, D and E. C to is >4 M in. Shape as shown in illustration from Q to I, and
Rule a line from V to and down. M down to bottom of coat.
B to F is %
exaggerated breast measure. Apply seat measure on % of divisions from 20
F to H is V/i in. to 14 and U to 10.
B to S is J4 regular breast measure. 10 to 12 is 3>4 in.

S to 22 is Zy2 in. Rule a line from 2 and down.

to 12
22 to G is J4 in. for each size the garment is G to 35 is 13/2 Square back from
in. 35.
exaggerated; in garment is exaggerated
this case the O to P is 1/6 breast measure.
4 sizes, consequently the distance from 22 to G is 1 in. Rule a line from J to P.
G to 21 is 1/6 regular breast measure. Shape armhole, shoulder and neckhole as shown
21 to W isbeing Y^
J4 in., in. for each size the
in illustration.
garment is exaggerated.
Sweep back from 5, using point 2 as a pivot, and
B to N is exaggerated breast measure.
sweep forward from 6, using point X as a pivot.
N to I is Square up from W.
2^ in.
Add 1 in. to front length at point 16 and shape
Square up and down from G.
from 6 to 19.
Square up from H.
A to T is 1/6 breast measure. Add 2 in. for button stand from P to 29, I to 13,

T to R is in. %
Rule a line from to R. W to 15 and 16 to 19.

14 to 20 is J4 breast measure.
Shape front as shown in illustration and body of
Rule a line from K to 20 and down. coat is finished.

Cape
This cape is drafted over coat and is traced off point are in same place as those of coat. Shoulder
from draft on another paper. Front and shoulder of cape is shape of regular coat.

To DraLft
X to Y is same distance as R to K. Shape as shown in illustration from Y to 18 and
Y to 17 is 1 in. 17 to 18.
Rule a from 36 to V and out.
line Shape from 36 to 17.
Apply measure for length of cape as taken over From 17 to 27 is same distance as from K to 2,
shoulder from X to Y and 17 to 24. plus ^ in.

Sweep forward from 24, using point X as a pivot. 24 to 28 is 7 in. for vent in side.
Add 1 in. to length of cape at 23. From 2 to 25 and 2 to 26 is same distance as from
From Y to 18 is 4 in. 27 to 28.

Collar
To Dra.ft
From. P to 33 is same distance as from A to R and Shape from ZZ to P.
X to P. 33 to 32 is 3 in. P to 31 is 3 in.

33 to 34 is 1^4 in. Shape as shown in illustration from 34 to Zi

Shape as shown in illustration frf>m 34 to P. and 52. Shape from 32 to 31 and P to 31.
68
Inverness
 Full Evening Dress

Custom decrees that when formal evening dress The garments should be of black material, al-

is required, the long-tailed coat which has earned the though a slight tendency toward gray is sometimes

name of evening coat should be worn. allowable. The trousers are braided on the outside

It is necessary that there should be uniformity in

seam. The waistcoat is white, of duck or silk, single
formal dress and for this reason well-dressed men
or double breasted, either plain or corded.
are a unit in deciding the use and the usage for eve-
With the full dress coat a plain white shirt, with
ning dress.
two or three pearl studs, is worn. The collar is either
To deviate even slightly from established custom
straight front or poke ; the tie a white lawn bow with
in formal dress is to make one unduly conspicuous,
broad ends ; the shoes patent leather with button tops.
and no gentleman likes to render himself an object of

remark. or patent leather pumps for dancing ; the gloves white

The formal evening coat is worn after 6 o'clock kid, and hat, silk or opera. This fashion is subject

in the afternoon at any formal occasion, such as wed- to slight variations from season to season, but in its

dings, receptions, balls, the opera and theater, when- general effect will doubtless be unchanged for many
ever ladies are present. No other costume can be held
years.
by any excuse to be correct.

70
 Full Dress

VIEWS OF FULL EVENING DRESS AND EVENING

COAT WITHOUT STRAP AND LAPEL SEAMS
 Full Dress Coat
Solid lines at front indicate regular dress coat. Waist 32 in.

Dash lines illustrate the manner in which the dress Seat 37 in.

coat is cut without strap or lapel seam, the following Height, 5 ft. 8 in.

measures being used Weight, 135 pounds.

Attitude, normal.
Natural waist 17 in.
Direct measures applied
Fashionable waist 18^ in.
Depth of scye 9 in.
Full length of coat 40 in.
Blade . . . .\ 11 in.
Breast 36 in. Strap 12 in.

To DraLft
Square out and down from A. Distance from 4 to U is waist suppression, which
A to V is breast measure. % is divided into three equal parts, as Figures 4, 2
V to B is 3 in. and 3 indicate.
Check same distance by measure for depth of 8 to 7 is % of waist suppression, or same dis-
scye. tance as 2 to U.
A to C is natural waist length.
7 to 6 is J4 waist measure.
A to D is fashionable waist length.
6 to 5 is % waist suppression, or same distance
A to E is full length of coat.
as 4 to 2.
Square out B, C, D and E.
Square down from 7.
C to U is 5^ in.

Square down from U and rule a line from U to V. L to is ^ waist measure.

to 25 is 34 in.
B to F is % breast measure.
Square out from X.
F to H is 1% in.
X
B to S is ^ breast measure.
to Q is 1/6 breast measure.

S to G is 33^2 in. Shape as shown by illustration from Q to I, 25,

Apply blade measure plus I3/2 in. from B to G.

22 and down.

G to W
is 1/6 breast measure. 22 to 9 is 1/6 breast measure.
B to N is breast measure. 24 to 10 is ^ in., 23 to 13 is Y^ in.

N 2>4to I is in. Shape as shown by illustration from 13 to 7 and

Square down from I square up from W. ; down to 10.
Square up and down from G and square up Shape from S to 6 and 20, and shape from S to 5
from H. and 21.
A to T is 1/6 breast measure. Shape sidebody from 10 to 20, and shape bottom
T to R is M in. of front part from 21 to 9.
Rule a line from to R. W O to P is 1/6 breast measure plus in. %
Square back from K, finding point Z. Rule a line from in. forward of J to P. %
Sweep back from point 1, using point G as a pivot. X to Y is same distance as R to 11, minus in. ^
1 to X is >4 in. Shape armhole as shown in illustration from Y
Rule a line from X to Z and rule a line from to 13.
X to G and down. Shape shoulder from Y to X.
G to AA is 1/6 breast measure, or same distance Shape neckhole from X to P.
as A to T. Lay your square level from 9 to 22 and draw a
Apply strap measure, plus J4 in. from AA to X. line up to 27.
U to 8 is J^ breast measure. Square out from P by having square level with
Square up and down from 8. balance line finding point 27.
From K to 23 is yi breast measure. Rule a line from G to 27 and out.
K to 11 is >< in. 9 to 23 is iy2 in.
Add 14, in- to top of back at point A and shape 23 to 18 is 2 in.
as shown in illustration from A to R, R to 11, 11 to 27 to 28 is 234 in.

23, 23 to 8 and down. Shape outside of lapel from 28 to 18.

Lto M is 1^ in. Take out a V in front part as shown in illustra-
M to 4 is 3/2 waist measure. tion.
 Full Dress Coat

For Front Without

Strap and Lapel
Seam
Note dash line on front part
coming down to point 23, and
reduce front at point 18, '4 in.,

or same as two seams. This

will leave the lower part of

front in one piece.

Skirt
10 to 14 is 1/3 seat measure.

Square back from 14.

14 to 15 is 1/12 seat measure.

Rule a line from 10 to 15 and

down. .

9 to 12 is i< in.

12 to 19 is 2 in.

19 to 29 is 1/3 of the distance

of 9 to 24.

Add J4 in. to top of skirt at

point 10, and shape top of skirt

as shown by illustration from

:o to 12.

From 10 to 17 is same dis-

tance as D to E, plus 1/2 in.

Add 3/4 in. to point 15 and

shape back of skirt as shown

by illustration.

17 to 26 is same distance as 19 to 29.

Rule a line from 29 to 26.

Shape front of skirt from 29 to 26, and shape

bottom as shown by illustration from 17 to 26.

Shape top of skirt for full dress coat without

strap and lapel seam as shown by dash line. Take

out \' in front part at front end of skirt.

Add \y2 in. to back from D to E. for back

tack, and finish as shown.

 The Tuxedo or Dinner Coat

WITH SHAWL ROLL AND NOTCH COLLAR

The dinner coat, or Tuxedo, as it is called in Nothing could be in worse taste, and nothing
America, was designed first for a lounge coat for shows more clearly how little a man knows about
evening wear to be put on in the evening when the correct dressing than such wear of a Tu.xedo.
dress coat was taken off. In England, where large In its proper place, among men, it is a sightly,
house parties are the rule, and full dress is universal, easy garment, which is very well liked by men who
after dinner the men of the party frequently resort to like to be comfortable and at the same time well
the smoking or billiard room when the ladies have dressed.
retired. The dinner coat was then donned, with the It may be worn with a vest of the same material
trousers and waistcoat of the dress clothes. From as the coat, which is usually black or Oxford gray,
this beginning the dinner coat grew to the dignity or with a fancy vest of steel gray. The shirt is white
of a distinct costume, to be worn as dress when only and pleated, the collar a turn over or wing, and the
men are present. At clubs, men's dinners, etc., it is tie a black bow, or of a color to match the vest.

correct. The coat may have either a shawl or notch col-

Many men imagine that the Tuxedo costume may lar, either being in good taste.

be worn interchangeably with the dress coat, and The Tu.xedo being a sack coat, requires to be
at the theater, formal dinners, balls, etc., where la- worn with it a soft or derby hat, never a silk or
dies are present it is frequently seen. opera hat.
 The Tuxedo or Dinner Coat

To Dracft
Draw up your crease lines from the bottom of If shawl collar is desired, shape as shown in illus-

the roll or from 5 to 2. tration, from 4 to 5.

Take out a V of 1^ in. from 2 to 1. If peak lapel is desired, peak lapel according to
style.
Point 3 is 1J4 in. below breast line.
4 to 6 is 2y2 in.
Run same V to point 3, as shown in illustration.
Shape as shown by dash lines in illustration from
This is done whether there is a shawl collar or a peak
4 to 6 and 6 to 5.
lapel dinner jacket.
All other points are the same as in a regular
1 to 4 is 3 inches. sack coat.
 Cassock
Mea.sures as Follo\vs:
Natural waist 17 in. Breast 36 in.

„,.,,.
i-ashionable waist
. r,
ly
.

in.
Waist
t-u r ^ r *i ^ •
-u ^o u ^^ j
32 in.

1 he front of this coat closes 32 buttons and

i
with
Full length '

58 in. button holes.

To Draft
Square out and down from A. Sliape as shown in illustration from A to R, R to

A to V is breast measure.i-g 11, 11 to 23, 23 to 8 and down to 28.

V to B is 3 in. Rule a line from G to 23.

A to C is natural waist length. 23 to 13 is ^ in.

A to D is fashionable waist length. S to 5 is 1^/2 in.

A to E is full length of coat. 30 to 27 is % in.

Square out from B, C, D and E. Shape as shown in illustration from 13 to 7 and 27.
B to F is %
breast measure. Shape from 5 to 6 and 20 and shape from 5 to

F to His 1>4 in. M and 21.

B to S is J4 breast measure.
'
Shape bottom of side body from 27 to 20 and
5 to G is 3j^ in. shape bottom of front part from 21 to 9.

G to W is 1/6 bi-east measure. . O to P is 1/6 breast measure.

B to N is breast measure. Rule a line from J to P.
N to I is 2^4 in. ' Rule a line from X to Z.
Square down from I. X to Y is same distance as from R to 11 minus
Square up from W. ^ in.

Square up and down from G. Shape armhole as shown in illustration from Y to

Square up from H. 5 and 13 to 5.
A to T is 1/6 breast measure. Shape shoulder from Y to X and shape neck-
T to R is 34 in. hole from X to P.
Rule a line from W to R. Rule a line from A to 28 and down.
Square back from K, finding point Z. Rule a line from 35 to D and down.
Sweep back from point 1, using point G as a Rule a from J to 30 and down,
line
pivot. _ Sweep forward from E to 16 and back from E
1 to X is J^ in. to 18, using point D as a pivot.
Square out from X by balance line. From 30 to 17 is same distance as 28 to 16.
X to O is 1/6 breast measure. 12 to 19 is same distance as 28 to 16 minus 1 in.

L to is I/2
waist measure. Shape top of skirt as shown in illustration from
Shape as shown in illustration from O to I, and 30 to 9.
down. Extend a plait of 2 in. as shown in illustration
22 to 9 is 1/6 breast measure. from D to 33 and 18 to 34.
L to M is 2 in. Extend a plait of 2 in. as per illustration from
M to 4 is 5^ waist measure. 30 to 32 and 17 to 31.
4 to C is waist suppression, which is divided into Extend a plait of 2 in. as shown in illustration
three equal parts, as Figures 4, 3 and 2 indicate. from 28 to 30 and 16 to 29.
C to 81/6 breast measure.
is From P to 26 is Ij^ in.

8 to 7 is %
waist suppression, the same dis- I to 25 is lj4 in.

tance as from 2 to C. to 24 is l]^ in.

7 to 6 is 34 waist measure. 9 to 12 is 1>^ in.

6 to M is ifi waist suppression, or same distance Shape as shown in illustration from 26 to 25, 24
as 4 to 2. to 12 and down to bottom.
K to 23 is 1/6 breast measure. Put on standing collar of l.)4 in. width, as shown
K to 11 is 14 in. in illustration.

76
The Cassock
 Theories and Practice
The practical cutter and the advanced student who have studied cutting as a science will no doubt

recognize in this work many of the ideas they have proved to be of good practical value. At the same

time they will observe many new ideas introduced and expressed, which may be in direct opposition to

their views, as well as in opposition to the opinions of other system makers and instructors of cutting.

While it is not my intention to criticise anybody else, or his work, there is no doubt that many of the

ideas I have expressed will to a considerable extent revolutionize some of the practices which have

been in use heretofore and have been accepted as correct, but which are in fact nothing but fallacious

theories.

For instance, it has been a common practice to lay up the normal points of a coat and then to

apply direct measures without having arranged the points in position for measurement. For example:

Where the depth of scye is 54 of an inch longer than normal, measures are applied direct without the

cutter knowing the reason why the depth is greater. The Second Section of Measurements, as described

in this volume, has been either ignored or else the cutter does not know anything about scientific varia-

tions, and the consequence is that this measure has been applied before regulating the draft for the

type or form which causes this measure to be 3^ inch longer. The reasons for the excess length could

be traced to one or more of the following types : Height, stooping, sloping, or long neck. It is

essential that this be thoroughly understood. If it is not, see diagrams and instructions.

The same applies to the strap measure, or any other measure which may be long or short in com-

parison with the normal. There must be a reason for this increase or decrease in length from normal,

and this reason can be found promptly if it is stipulated when measurements are taken, in the Second

Section of Measurement, and may be remedied in a scientific way by adhering to the illustrations and

instructions of variations. First laying out the proportionate points, applying height and circumference,

and next, variations, according to definition of types. It will be readily seen that the points have changed

positions, and by this operation the different points are placed in graphic harmony with each other,

and the draft is then in position for measurement that is less conflicting. In fact, if the types have

been correctly stipulated and measurements accurately taken, there should be no difference between

the measurements and variations. At the same time the garment will have the proper fitting points and

retain the symmetry and grace of the ideal model. While it has been for various reasons subjected

to scientific variations and methodical measurements, yet balance and fitting points have been retained.

79
 The shoulder point has been a subject of much discussion in the trade, but from a scientific point

of view the shoulder point has only a fixed relation to the neck that a point in the circumference has

to any circle. It has nothing to do with what is commonly called straight or crooked shoulders. To
attempt to fix the shoulder point by direct measurement, or by any other means without reference to

the top of the back is wrong. For instance, a stooping figure is as a rule also round-backed, and to

reduce the length of front shoulder of a coat without reference to the back is fallacious, yet, even in

some modern methods, such theories are put in practice. The length of the back determines whether

there is to be a straight or crooked shoulder. (See diagram for stooping and erect).

Raising or lowering of the back and increase or decrease of the distance from A to B demands
raising or lowering of the shoulder point. Therefore, to alter the shoulder point without reference to

the back is out of the question. An independent shoulder point has no existence, and crooked and

straight shoulders are only terms. The word "term" is something that has no independent

influence. The location of the so-called shoulder point is entirely dependent on the increase

or decrease given to the length of the back to produce the intended effect, fit, or character of the

garment. To produce a well-balanced garment necessitates all parts of the coat being in strict har-

mony with each other, and this important feature can not possibly be secured by any process of meas-

uring that is practicable for students to use, without the aid of proportions and variations. The style

of a garment depends entirely on the taste and individual skill of the cutter in adapting the garment

to the type and figure, and in making it the proper size so as to dress the customer correctly.

80
VEST SECTION
The Supreme Vest System
with Instructions How to
Measure and Apply Meas-
urements to Vests; also

Proportion Tables*

81
 Proportiona.te Front Length for Vests from Height and Circumference

Breast. 5-4 5-5 5-6 5-7 5-8 5-9 5-10 5-11 6 ft.

32 23 23i 234 23f 24 24} 244 24} 25

33 231 23* 23f 24 24} 24* 24} 25 25}
34 23* 23i 24 24i 24* 24} 25 25} 25*
35 23f 24 24i 24* 24} 25 25} 25* 25}
36 24 24i 24^ 24} 25 25} 25* 25} 26
37 24i 24* 24} 25 25} 25* 25} 26 26}
38 24A 24f 25 251 254 25} 26 26} 26*
39 24J 25 25i 25* 25} 26 26} 26* 26}
40 25 25i 25* 25} 26 26} 26* 26} 27
41 25i 25* 25f 26 26} 26i 26} 27 27
42 25i 25f 26 26} 26* 26} 27 27} 27*
43 25| 26 26i 26* 26} 27 27} 27* 27}
44 26 26i 26* 26} 27 27} 27* 27} 28
45 261 26* 26f 27 27} 27* 27} 28 28}
46 264 26f 27 27} 27* 27} 28 28} 284
47 26f 27 27i 27* 27} 28 28} 28* 28}
48 27 27i 274 27} 28 28} 284 28} 29

Proportionate Waist Length

of Vests 16 16} 16* 16} 17 'i 17* 17} 18

82
 Vests

"^'^
>»(•.

^
1

MODELS OF THE DIFFERENT FANCY AND REGULAR VESTS COMMONLY WORN

83
 How to Measure
Vests
After having ascertained the style desired and arranged the vest so that it is smooth front and

back, proceed to take measurements over vest as follows:

1. Measure as shown in illustration for actual opening desired from A on back view to E on

front view.

2. Measure as shown in illustration for full length of vest from A on back view to F on

front view.

3. Measure as shown in illustration to side from A on back view to G on front view.

4. Measure all around breast as shown in front view illustration. Measurements taken should

be medium snug.

5. Measure all around waist as shown in front view of illustration. Measurements taken should

be medium snug.

Height and weight of customer are essential in order to prove up breast measure with the table

of breast measures compounded from heights and weights, and also so as to designate the proportionate

length of depth of scye and waist.

Measurements for vest when entered in order book should stand as follows:

Opening Breast

Full length Waist

Length to side

For the different attitudes and deformations, see Definition of Types or Second Section of Meas-

urements. For short or direct measures, such as depth of scye, waist length, blade, strap, over shoulder

and front measure, see Third Section of Measurements.

84
How to Measure Vests

fprn'/y

W^^'-

85
 Proportionate Vest

Mea.sures a-s Follows:

Waist length 1" in. Length to side 22 in.

Opening 1 1 in. Breast 36 in.

Front length 25 in. Waist 32 in.

To Draft
Square out and down from A. Apply measure for opening plus 1 in. from A to
A to V is I3 breast measure. T and X to 8.
V to B is 3 in. Apply measure for full length plus 1^4 in. from
A to C is waist length. A to T and X to J.
Square out from B and C. Apply measure to side plus 1 in. from A to T
B to F is 1/3 breast measure. and X to 6.
F to H is lyi in. L to 3 is 1 in.

B to S is J4 breast measure. G to P is 1/12 breast measure.

S to G is 3 in. M to 5 is J4 waist measure.
G to W is 1/6 breast measure. 5 to 4 is 1 in.

B to N is breast measure. Shape as shown in illustration from P to 3 and 6.

N to I is 2 in. Shape from P to 4 and 7.

Square down from I. J\I to 10 is V/i in.

Square up from W. Shape from 10 to 7 and shape from 6 to J.

Square up and down from G. K to E is 34 in.
Square up from H. Shape from A to R and R to E.

A to T is 1/6 breast measure. X to Y is same distance as R to E minus J4 >"•

T to R is % in. Shape armhole as shown in illustration ^ in.

Rule a line from W to R. below breast line and Yi in. in front of balance line
Square back from K, finding point Z. from Y to E.
C to M is 1 in. Shape shoulder from Y to X.
Shape as shown in illustration from Z to M and X to 13 is % in.

down. Shape as shown by solid lines from 13 to 8, from

Sweep back from point 2, using point G as a 8 to and to J.
pivot. Place vest pockets as shown, lower pocket 4 in.

2 to X is J4 in. from bottom, and make lower pocket 4j/2 in. in length.

Rule a line from X to Z. Make breast pocket 4 in. in length.

2 to O is 1/6 breast measure. Extend button-stand as shown by dotted line, to

L to is 5^ waist measure. be used only on right side of vest, and single-breasted

Shape from Q to I, and down. vest is completed.

Double Breasted
For double-breasted vest see dash line on front. Shape as shown in illustration from 8 to 11, 11
Make distance from solid line to point 11, 4 in. to 12 and J to 12, and double-breasted vest is finished.
Make distance from J to 12, 2}i in.

86
Proportionate Single and Trouble Breasted Vest

87
 Vest for Stout Figure
Mea-sures bls Follou's:

Waist length . ... 17

i/ in-
in. Length to side 23^ in.

Opening 12 in. Breast 48 in.

Full length 29^ in. Waist 50 in.

To Dracft
Square out and down from A. Shape as shown by illustration from V to 11 and
A to 42 is Ys of 42 on divisions. down.
A to 48 is 1/3 of breast measure. From 11 to 5 is J^ waist measure.
V is half way between 42 and 48. From 5 to 14 is 1 in.
V to B is 3 in. From 14 to 4 is same distance as to 12.

A to C is waist length. G to P is 1/12 breast measure.

Square out B and C. L to 17 is 1 in.

B to F is % breast measure. K to E is % in.

F to H is iy2 in. Shape as shown by illustration from A to R and

B to S is ^ breast measure. R to E.

S to G is 3 in. Apply measure for opening plus 1 in. from A to

G to W is 1/6 breast measure. T and X to 8.
B to N is breast measure. Apply measure for full length plus 1J4 in. from
N to I is 2 in. A to T and X to J.
Square down from I. Apply measure for side length plus 1 in. from A
Square up from W. to T and X to 18.

Square up and down from G. X to Y is same distance as R to E minus 54 in-

Square up from H. P to 16 is same distance as 1 to 15.
A to T is 1/6 breast measure. Shape as shown by illustration from 16 to 17 and
T to R is ^ in. down to 18.

Rule a line from R to W. Shape from P to 4 and 7.

Square back from K, finding point Z. 11 to 10 in 1% in.

Sweep back from point 2, using point G as a
Shape from 10 to 7.
pivot.
From 2 to 13 is J/2 in.
Extend ^
in. to front at point X and shape as
shown by illustration.
13 to X is J^ in. for each inch waist meas-
From
ure exceeds breast measure, in this case being 48 Shape front from 8 to 12 and down to J.

breast and 50 waist, the distance from 13 to X is in. ^ Shape armhole as shown by illustration from E
Rule a line from X to Z. to P.
From L to is ^ waist measure. Shape front of armhole as shown by solid lines
From to 12 is ^ for each inch
in. waist meas- Y to 16 and taking out as much
of illustration from
ure exceeds breast measure, in this case being 48 more in armhole as distance from P to 16.
breast and 50 waist, the distance from to 12 is % in-
Shape from 18 to J.
2 to Q is 1/6 breast measure.
Place pocket and cut same open and lay a plait at
Shape as shown by dotted lines from Q to I and
point 10 as much as to make opening between 3
12.
and 9, J/g
in. for each inch waist measure is over nor-
Square down from 12.
mal ; in this instance waist measure exceeds normal
Add from I to 15 as much as is necessary to get
a good shaped front, or an average of in. for each
by 6 in., therefore the distance from 3 to 9 is % in.
J/^

inch waist measure exceeds breast.

Add ^2 in. for seams at 6.

From M to 11 is J/^ in. for every inch waist meas- Shape from 6 to J.

ure exceeds normal. In this case waist measure is Extend button stand of }i in. as shown by dotted
6 in. over normal, consequently the distance from M line of front according to illustration to right side
to 11 is J4 in. and finish as represented.
Vest for Stout Figure

S9
Trouble Breasted Vest With Separate Lapel. Also Full
Bress Vest With Small Waisted Effect
Measures a^s ^ollo^vs:

Waist leneth 17 in. Length to side 22 in.

Opening 10>4 in. Breast 36 in.

Full length. Waist 30 in.

To Draft

All systematical points are oJDtained in same man- row at the waist and retaining the width over the

ner as in regular draft, hut it will l>e noticed the chest.

measures for 30 waist, while the hreast still

call is
h""rom M to 15 is J/^ in. for each inch the waist is

36, making the waist measure 2 in. smaller than

smaller than normal.
normal.
A V is taken out in the back so as to reduce the
In applying waist measure from L we find point
width at waist, having the same efiiect as that of the
9, but the front must have the normal shape as point
front part.
indicates, and a V is taken out in the side, as shown

in front part, which, when seamed up, will eliminate In other details the opening remains the same as

the distance from 9 to 0, making the front part nar- in resrulation draft.

Double Breasted Vest With Separate Lapel

Lay square level from point J to and square up, Make width of lapel 4 in. at point 11.

finding point 15. From J to 12 is 2 in.

Square forward and back from 15 through 8. Shape as shown in illustration from 8 to 0, 14 to

15 to 14 is same distance as from 8 to 15. 0, 14 to 11, 11 to 12 and J to 12.

Full Dress Vest

For full dress vest use dash lines in front part of Be sure all the points are thoroughly understood,

vest. as while system remains the same for all vests, subject

Measure for whatever opening is desired plus 1 to variations which will be given hereafter, various

in. from 2 down and shape as shown by dash line and fronts are only additions and deductions according to

full dress vest is completed. the |iurposc for which the vest may be designed.

90
Double Breasted Vest With Separate Lapel. Full Dress
Vest With Small Waisted Effect
 Variations
7^>>

^foy^tnp' / Qi-ecl

Diagram F. Illustrates variations for stoopingand erect. Solid lines show normal. Dash lines
illustrate stooping, and dotted lines illustrate erect. Point H is half way betweenW and B.

Stooping
Stipulate variations of }i in., >4 in or % in. from Square out from 10 by dash line finding point P.
B to 8.
Draw a line from 8 through H 18 is found by sweeping back from P as in regu-
and out as shown
lar draft.
by dash line.

Square up by same line from H, G and W and 8. Shape back, armhole, shoulder and opening as
8 to 10 is 1/3 breast measure, plus 3 in. shown by dash line and stooping is finished.

Erect
Stipulate degrees of variation of 1,4 in., yi in. Square out from point 11 by dotted line, finding
or % from B to 9.
in. point M.
Draw a line from 9 through H and out as shown 19 is found in regular manner by sweeping back
by dotted line. from M.
Square up by dotted line from \V, G, H and 9. Shape back, armhole, shoulders and opening as
9 to 11 is i/j breast measure, plus 3 in. shown by dotted line, and erect is finished.
92
 Variations

DIACC.

Diagram G. Illustrates large and small blades. moves in either direction as the front of scye is moved.
Solid lines illustrate normal ; dash lines show large For example
blade, and dotted lines illustrate small blade. From H to 6 is same distance as G to 8, and
Stipulate degree of variation of J4 in., /^ in. or from H to 5 is same distance as G to 7.

^ in., varying from point G. Shape arnihole, shoulder and opening as shown

G to 7 is for large blade and G to 8 is for small by dash line for large blade.

blade. Shape armhole, shoulder and opening as shown

It will be clearly seen that the width of the back bv dotted line for small blade.
 Variations

Diagram H. Illustrates sloping and square.

Solid lines illustrate normal ; dash lines show slop-
ing, and dotted lines illustrate square.

For Squatre Shoulder

Stipulate variation from point B of J4 iri-,
J^ in- Y to 11 is same distance as E to D.
or % from B to 8.
in. Shape as shown by dotted line for square shoul-
Square out from 8. der.
From E to D is same distance as B to 8.

For Sloping
Stipulate degree of variation by ^ in,, lA in. or Y to 10 same distance as E to L.
is

% in.from point B to 9. Points and X remain same as normal vest.

R
Square out from 9 as shown by dash line. Shape shoulder and armhole as shown by dash
E to L is same distance as B to 9. line for sloping shoulder.
 Variations

j^ng / Bit Of/ i^fifl

Diagram J.
Illustrates long and short neck.

Solid lines illustrate normal. Dash lines show short

neck, dotted lines show long neck.

Rule a line from H to X and out.

For Short Neck

For Long Neck
Stipulate degree of variation of J4 i"-, /^ i'l- or
Stipulate degree of variation of '4 m. or
from A to 6 and X to L.
in., J/^
34 in.

}i in. for long neck from A to 5, and X to D. Square out from 6 and shape top of back, front
and shoulder as shown by dash line for short neck.
Square out from 5, and shape top of back, front Be sure to study incline and definition of types
shown by dotted lines for long neck. in connection with these diagrams of variations.
and shoulder as

93
 J^otch Collar Vest for Corpulent Figure

Meatsures a.s Follows

Waist length 17 in. Direct measures applied
Opening 13 in. Depth of scye lOYs in.

Full length 28 in. Strap 13J/2 in.

To side 23 in. Blade 12>^ in.

Breast 42 in. Over shoulder 19 in.

Waist 42 in. Attitude, normal.

To Dra.ft
Square out and down from A. M to 11 is J/2 in., or ]4, in. for each size waist
A to V is y^ breast measure. measure is over proportion.
V to B is 3 in. , 11 to 5 is ^ waist measure.
A to C is waist length. 5 to 4 is 1 in.

Square out B and C. L to J is 1 in.

B to F is % breast measure. G to P
1/12 breast measure.
is

F to H is \y2 in. Apply measure ftjr opening plus 1 in. from A to

B to S is J^ breast measure. T and X to 8.

S to G is 3 in. Apply measure for full length plus IJ/2 in. from
G to W is 1/6 breast measure. A to T and X to J.
B to N is breast measure. Apply measure to side plus 1 in. from A to T
N to I is 2 in. and X to 12.
Square up from W. Add % in. to front at point X and shape opening
Square up and down from G. as shown by solid lines, and shape front from 8 to
Square up from H. and down.
A to T is 1/6 breast measure. Shape from P to J and 12.

T to R is ^ inch. Shape from P to 4 and 7.

line from
Rule a to R. W 11 to 10 is lJ-2 in.

Square back from K, finding point Z. Shape from V to 11 and 10 to 12.

Apply depth of scye from B to A. K to E is ^ in.

Apply blade measure plus 1 in. from B to G. X to Y is same distance as R to E minus 34 in.
Sweep back from 2, using point G as a pivot. Shape as shown in illustration from A to R and R
From 2 to X is 3^ in. to E.
Rule a line from X to G and down. Shape armhole from E to P and Y to P.
G to AA is 1/6 breast measure, or same distance Shape shoulder as shown in illustration from Y
as A to T. to X.
Apply strap measure plus ^ in. from AA to X. Place pocket and make plait in front of pattern

Rule a line from X to Z. as illustrated in draft and make opening between 3

and 9 oi ]4, iu- for each size vest is larger over waist
Appl}!- over-shoulder measure plus 1 in. as shown
than normal in this case it would be 3/2 in., and add
in illustration from B to 13 and G to 14.
;

1/2 in. for seams at 6.

2 to O is 1/6 breast measure.
Shape from 6 to J.
L to is J/2 waist measure. Extend button stand of 9-4 inch to right side and
C to M is 1 in. finish.

96
N.otch Collar Vest for Corpulent Figure
 Clerical Vest

MeaLSures a.s Follows:

Waist length 17 in. Breast 38 in.

Full length. 25i^ in. Waist 34 in.

Side length 22 in.

To Dra.ft
All systematical points are obtained in the same which will serve as button stand.

manner as for regular draft. Shape another part as indicated by dash line for

From O to 8 is 1/6 breast measure. side where button holes are to be put in.

Shape as indicated from X to 8. Place one button hole at point X and one op-

Rule a line from where collar is attached down to posite Y and put six button holes at side.

bottom at side as indicated by dotted line. Draw up collar as indicated in diagram and finish

This will give you a separate part for right side as shown.
98
TROUSERS SECTION
The Supreme System for

Trousers with Instructions

How to Measure, How to
Apply Measurements and
Proportion Tables.

LOFa
 ProportioncLte InseaLin of Trousers

To be Used in Connection with the Table of Sizes for Coats.

Breast
101
 How to Measure
Trousers
At the start, request the customer to adjust his trousers so that they will fit up in the crotch to

the extent desired. Next, have him stand erect so that the body rests well on the legs with the feet

about 8 inches apart, so as to give free play for measurements.

1. Measure outside seam from point A at the waist to point B at the bottom. See illustration.

2. Measure for inside seam from point C close up in crotch to point F to the heel of the shoe.

See illustration.

3. Measure waist all around the body over the waist band, drawing tape moderately tight.

4. Measure seat all around the body at point D, the most prominent part of the seat.

Request the customer to stand with his heels together while this measurement is taken. This

measurement should be taken moderately easy. For corpulent or stout figures, measurements may be

taken over the abdomen half way between waist and seat.

5. Measure all around knee, as shown in illustration.

6. Measure all around bottom of trousers at point F.

Measures for knee and bottom are subject to style and individual taste in a great measure.

The regular measures for trousers when entered in the order book should stand as follows:

Outside seam Seat

Inside seam Knee

Waist Bottom

Having completed measurements, take a careful examination of the customer, and request him to

place his heels together. Place your hand between his legs at knee. If there is a distance between

the legs of two fingers' breadth, he is slightly bow-leg. Breadth of three fingers would indicate that

he was bow-leg in medium degree, and the breadth of the hand would indicate bow-leg in the extreme

degree. Notice whether he bends over or whether he requires a long front to trousers, or whether he

has a large or flat seat ; notice whether he has large or small hip, and whether he spreads his feet out

or keeps them close together when in a natural position. Note all these deformations in the measuring

book so that in drafting a pattern you can use variations to overcome these difficulties. As far as

measurements are concerned, it is possible to take them correctly relative to length and circumference,

but unless the various attitudes and deformations have been stipulated at the time measurements were

taken, thus enabling you to use variations in drafting, the result will be unsatisfactory.
How to Measure Trousers

103
 Proportionate Trousers

Mea.surements a-s Follows:

Outside length 41>4 in. Seat .

.-. 2)7 in.

Inside length 32 in. Knee 18 in.

Waist 32 in. Bottom . . . . 16 in.

To Draft— Front Part

Square out and down from A. J to ^ waist measure.
L is

A to B is outside length. M to O ^ knee measure. is

B to C is inside length. M to V ^ knee measure. is

D is J4 way between B and C. Ito R ^ bottom measure. is

D to E is 2 in. I to P is J4 bottom measure.

Square out C, E and B. Rule a line from K to F and from K to 6.

C to F is J4 seat measure.
Rule a line from O to R and from V to P.
F to 6 is 3^ in. Shape as shown in illustration from L to C, V
6 to S is j^ seat measure. and down.

S to G is 34 in. F to T 1/6 seat measure.

H is 54 way between G and C. Shape from T to G and from K to S.

Square up from H. Shape from G to O and from S to O.

B to I is % seat measure. Reduce length of front 1 inch at point I and

Rule a line from H to I. shape as shown in illustration from P to R. Front

J to K is J4 waist measure. part finished.

Bacck PaLrt
Cut out front part. Place on another paper and C to Z is \y2 in.

draft back part as follows Apply seat measure from 8 to T and 9 to 4.

Rule a line across from V to U and from P to N. 4 to 5 is 1^ in.

Sweep forward from S, using point O as a pivot. X to 3 is 34 waist measure plus 1 in. for seams.

Sweep forward from L, using point F as a pivot. X to Y is 1/ seat measure plus 1 in.

Sweep backward from L, using point V as a 3 to 1 is Vy in.

pivot. Take out a V between 1 and 2 of the difiference

Sweep backward from C. using point V as a between 3 and Y minus two seams.
pivot.
Shape as shown in illustration from X to T and
S to W is 1/12 seat measure.
down to VV, from W to U and down to N.
O to U is 1 in.
Shape from Y to 5, Z, V, and down to P.
R to N is 1 in.

Shape as shown in illustration from P to N.

Place corner of square at point T, letting long

arm of same rest on point C, and square up from Shape from Y to 1 and 2 to X.

T to X. Finished.

104
Proportionate Trousers

105
Peg Top Trousers

Mea-sures Used a.s Follows:

Outside seam 41 J/^ in.

Inside seam 32 in.

Waist i^ in.

Seat 38 in.

Bottom 16 in.

Excess of size over hip 4 in.

To Draft
All systematical points are obtained in tiie same
manner as in proportionate trousers with the excep-
tion that the knee measure is ignored. Excess of size

is J4 ii- for each inch of exaggeration from C to 5

in this case 1 in.

Shape as shown bj' solid line from L to 5 and

down to P.

5 to Z is IJ^ in.

Shape back part as shown by solid line in illus-

tration from Y to Z and down to P.

Straighten lines at point on front part and shape

as shown by solid line from S to R.

Straighten line at point U on back part and shape

as shown by solid lines from W to N.
All other points remain the same as for regular

draft and can be subjected to same variations as illus-

trated and stipulated elsewhere.

106
 Dress Trousers
Produced from the following measures:
Outside scam . . .40 in. Seat 36 in.

Inside seam ....31 in. Knee 18 in.

Waist 31 in. Bottom 15>4 in

To Draft— Front Part

Square out and down from A.
A to B is outside length.
B to C is inside length.
D is 5^ way between B and C.
D to E is 2 in.

Square out C, E and B.

C to F is J/2
seat measure.
F to 6 is 3^ in.

6 to S is ^ seat measure.
S to G is ^ in.

H is y2 way between G and C.

Square up from H.
B to I is l^ seat measure.
Rule a line from H to I and square up from H.
J to K and J to L are each % waist measure.
M to O and M to V are each % knee measure.
I to R and I to P are each % bottom measure.
Shape as shown by dash line from L to C, V
and down to P.
Shape as shown b_y dash line from S to O and
down to R.
Rule a line from K to F and from K to 6.
F to T is 1/6 seat measure.
Shape as shown in illustration from T to G and
from G to O and K to S.

BaLck PaLrt
Cut out front part, place same on another paper
and draft back part as follows
Line across from P to N and V to U.
Sweep forward from point S, using point O as
a pivot.
Sweep forward from point L, using point F as
a pivot.
Sweep back from L, using point V as a pivot.
Sweep back from C, using point V as a pivot.
S to W is 1/12 seat measure.
O to U is 1 in.

R to N is 1 in.

C to Z is lYz in.

Place corner of square at point T and let long

arm of same rest on point C, and square up, finding
point X.
X to 3 is J^ waist measure.
3 to Y is 1 in.

Shape as shown in illustration from Y to Z, V

and P, from Y to X, from X to T and W, and from W to U and N.

Shape bottom as shown in illustration and finish as shown.

 Trousers for Corpulent Figure
Measurements as Follows:
Outside seam 43 in. Abdomen 47 in.

Inside seam 31 in.

Knee 21 in.
Seat 44 in.

Waist 45 in. Bottom 17 in.

To Draft
Square out and down from A. Rule a line from H to I.

A to B is outside length. Square up from F, finding point 11.

B to C is inside length. J to K and J to L are each ^4 waist measure.

D is ^ way between B and C. From K to Q is same distance as from 11 to K.

D to E is 2 in. Rule a line from K to F and K to 6.

Square out C, E and B. F to T is 1/6 seat measure.

C to F is J4 seat measure.
Shape as shown in illustration from O to S and
F to 6 is 5/2 in. from Q to T and G.
6 to S is J^ seat measure.
M O and M to V are each y^ knee measure.
to

S to G is ^ in. to R and I to P are each J4 bottom measure.

I

H is 3/2 way between G and C. Shape from L to C, V and down to P.

Square up from H. Shape from S to O and down to R.
B to I is % seat measure. Shape from G to O.

Back Part
Cut out front part and lay on another paper and 10 to 5 is 1 in.

draft back part as follows Apply waist measure from L to O and X to 3.

Line across from P to N and V to U. From 3 to Y is 1 in.

Sweep forward from S, using point O as a pivot. O to U is 1 in.

Sweep forward from L, using point F as a pivot. R to N is 1 in.

Sweep back from L, using point V as a pivot. Shape as shown by solid line in illustration from
Sweep back from point C, using point V as a Y to 5, 7, Z, V and down to P.
pivot. Shape from Y to X and from X to 2, 1, T and
S to W is 1/12 seat measure.
down to W.
C to Z is lj4 in.
W
Shape from to U and down to N.
Place corner of square at point T, letting long
Shape from P to N.
arm of same rest on C, and square up from T, finding
If an easier pair of trousers be desired, sweep
point X.
back part backward as shown by dash lines, take off
Apply seat measure from 15 to T and 1 to 4.

4 to 7 is 1^ in.
% in. at X, adding same amount at 14, also adding

Apply measure for abdomen from 9 to 8 and same amount at point 12, and shape as shown by dash

2 to 10. lines, and finish.

108
Trousers for Corpulent Figure
 Variations
The upper part of this diagram ilhistrates the
manner of handhng regular drafted pattern for long
and short front. Solid lines illustrate normal, dash and
dot lines illustrate long front, and dotted lines illustrate
short front.
Long Front
Square back from point T, obtaining normal line.
Stipulate degree of variation by ^4 '". Vz in- or
% in.from T to 9.
Rule a line from 9 to 25.
Square up from 22, finding point 5.
Square back and forth from 5 through L.
From 5 to 2 and 5 to 4 are each >4 waist measure.
Rule a line from 2 to 9.
Shape as shown in illustration from 2 to 9 and
down.
Shape from 4 to 25.
Shape from 4 to 2.
Short Front
Stipulate degree of variation by J4 i"-, V^ in. or
% in. from T to 8.
Rule a line from 8 to 25.
Square up from 24, finding point 7.
Square back and forth from 7 through L.
Apply yi waist measure from 7 to 1 and 7 to 3

each.
Rule a line from 1 to 8.
Shape as shown by dotted lines from 1 to 8, 3 to

25, and 3 to 1.

Open and Closed Trousers

Lower part of this diagram illustrates how to vary
trousers for open and closed ; also called large and
small hip.
Line drawn from H to I represents normal dotted
;

line illustrates closed and dash and dot line illustrates

open trousers.
Closed Trousers
For closed trousers stipulate degree of variation

by Yi in., 1 in. or 1>4 in. from I to N.

Rule a line from H to N.
From N to 11 and N to 12 are each ]i bottom
measure.
20 to 15 and 20 to 19 are each V4 knee measure.
Shape as shown b\' dotted lines of illustration
from S to 15 and 11.
Shape from C to 19 and 12.
Open
Stipulate degree of variation In- ]A in.. 1 in. or
lJ/2 in. from O. I to

Rule as shown by dash and dot line H-Q.

O to 13 and O to 14 are each y^ of bottom meas- Shape as shown by dash and dot line from C to

ure. 18 and 14.

21 to 16 and 21 to 18 are each J/4 knee measure. Shape from S to 16 and 13.
 Variations
Upper part of this diagram illustrates manner in

which flat and large seat is obtained. Solid lines on

back part normal; dash and dot
illustrate lines illus-

trate large, and dotted lines illustrate flat seat.

Large Seat
Stipulate degree of variation by >4 in., ]/> in. or

^ in. from T to 18.

Place corner of square at 18, letting long arm of
same rest on C, and square up as shown Ijy dash and
dot line.

X 4 is same distance as T to 18.

to
Measure up trousers in regular way, thereby find-

ing point 7.

W from T to 18.
to 8 is half the distance
Shape as shown in illustration from 7 to 4, 4 to
18, and 18 to 8.
Shape from 8 to U.
Shape as shown by dash and dot line from 7
down.
Flat Seat
Stipulate degree of variation by >-4 in., ^ in. or

i/^ in. from T to 19.

Place corner of square at 19, letting long arm of
same rest on C.
Square up from 19.
X to 3 is same distance as T to 19.

W to 9 is half the distance from T to 19.

Measure for waist in regular way and shape as

shown by dotted line in illustration from 10 to 3, 3 to

19 and 19 to 9.
Shape from 9 to U and Y down.

Bow Leg a-nd Knock Knee

part of this diagram illustrates the man-
Lower
ner of varying for bow leg and knock knee.
Line H-I illustrates normal dotted line illustrates ;

bow leg, and dash and dot line knock knee.

Bow Leg
Stipulate degree of variation by >4 in. 1 m. or
1>4 in.from I to N for bow leg.
Rule as shown by dotted line from to N. M
N to 11 and N to 12 are each Y^ bottom measure.
Rule as shown by dotted line from to 11.

Rule from V to 12 for bow leg.

Knock Knee
Stipulate degree of variation by >2 in. 1 m. or
1>4 from I to O.
in,

Rule as shown by dash and dot line from to Q. M

Q to 13 and O to 14 are each Y^ bottom measure.
Rule as shown by dash and dot line from to

13 and V to 14 for knock knee.

 Combinations of Variations
Mea.sures Used:

Outside seam 42 in. Knee 19 in.

Inside seam 32^4 in. Bottom 16 m.

Waist 33 in. Definition of Typt-s — Small hip, knock knee, short
gg^,. 39 in, front and large seat.

To Draft
Square out and down from A. Square back from T, finding 15.

A to B is outside length. T to 8 is ^ in. for short front.

B to C is inside length. Rule a line from 8 to 15.

D is half way between C and B. Square up from 13, finding point 10.

D to E is 2 in. 10 to 5 and 10 to 12 are each }i waist measure.

Square out C, E and B. Rule a line from 5 to 8.

C to F is J/2 seat measure. M to and M to V are each ^ knee measure.

F to 6 is )^ in. 18 to R and 18 to P are each % of bottom meas-

6 to S is 5^ seat measure. ure.

S to G is % in. Rule a line from to R.

H is half way between G and C. Rule a line from V to P.

Square up from H. Shape front part as shown by dash line from 12

B to I is % seat measure. to 5 and 5 to 8 and G.
I to 16 is 1 in. for small hip. Shape from 5 to S.
Rule a line from H to 16.
Shape from S to 0.
16 to 18 is 1 in. for knock knee.
Shape from G to 0.
Rule a line from M to 18.
Shaf>e from 12 to C and V.
J to and J to K are each
Q ^ waist measure.
Rule a line from F to K. Shape from P to R as shown by dotted line, and
front part is finished.
F to T is 1/6 seat measure.

Bsvck PeiLrt

Cut out front part and lay same on another paper. Apply seat measure plus l}i in. from 8 to 15

Square out lines P-N and V-U. and 9 to Z.

Sweep forward from S, using point as a pivot. Apply waist measure in regular manner with
Sweep forward from 12, using point F as a pivot. same additions as shown, and take out a V in back
Sweep back from 12, using point V as a pivot. part, as shown in illustration.

Sweep back from C, using point V as a pivot.

to U is 1 in.

T to 9 is J^ in. variation for large seat.

R N
to is 1 in.
Place corner of square at 9, letting long arm of
Shape back part as shown by solid line of illus-
same rest on point C, and square up from 9.
tration from Y to 1, 2 to X, and X to 9 and W.
4 to X is same distance as T to 9.

5 to 22 is 1/12 seat measure.

Shape from W to U and U to N.

22 to W is half the distance from T to 9. Shape from Y to Z, V and P.

C to Z is llA in. Shape from P to N and finish.

112
Small Hip, Kjiock Kjie^t Short Front, Large Seat
 Combinations of Variations
Measures Used
Outside seam 40^4 in- Knee 18 in.

Inside seam 31 in. Bottom 15j^ in.

Waist 29 in. Definition of Types — Large hip, bow leg, long

Seat 37 in. front, flat seat, small waist.

To Draft
Square out and down from A. C to 15 is 1/6 seat measure.
A to B is outside length. Rule a line from T to 15.

B to C is inside length. T to 9 is J/2 in. for long front.

D is half way between B and C. Rule a line from 15 to 9.

D to E is 2 in. Square up from 13 as shown by dash line, find-

Square out C, E and B. ing point 10.

C to F is J^ seat measure. 10 to 5 and 10 to L are each 54 waist measure.

F to 6 is 3^ in. Rule a line from 9 to 5.

6 to S is 3^ seat measure. M to and M to V are each ^4 knee measure.

S to G is % in. 18 to R and 18 to P are each % bottom measure.

H is h.alf way between C and G. Shape front part as shown by dotted line from
Square up from H. 5 to S and 5 to 9 and G.
From B to I is % seat measure.
Shape from L to C.
I to 16 is 1 in. for large hip.
Rule a line from to R.
Rule a Hue from H to 16.

16 to 18 is 1 in. for bow leg.

Rule a line from V to P.

Rule a line from M to 18.

Shape as shown by dash line from S to 0.

J to K
and J to Q are each J4 waist measure.
Shape from G to 0.

Rule a line from F to K. Shape from C to V, and front part with variations
F to T is 1/6 seat measure. stipulated is complete.

Back Part
Cut out front part and lay on another paper. U
to is 1 in.

Rule across from V to U, and P to N. R to N is 1 in.

Sweep forward from S, using point as a pivot. C to Z is 1^ in.

Sweep forward from L, using point F as a pivot. Apply seat measure plus \j/\ in. from 9 to 15 and
Sweep back from L, using point V as a pivot. T toZ.
Sweep back from C, using point V as a pivot.
Apply waist measure in regular manner.
From T to 8 is 5^ in., amount of change for small
Take out a V in back part, as shown in illustra-
seat.
tion.
Lay corner of square at point 8, letting long arm
of same rest on point C, and square up from 8.
Shape from Y to 1, 2 to X, X to S and W.

From 4 to X is same distance as from T to 8.

Shape from W to U and N.
S to 7 is 1/12 seat measure. Shape from Y to Z, V and P.
From 7 to W is half the distance from T to 8. Shape from P to N and finish as shown.
114
Large Hip, Bowleg, Long Front, Flat Seat, Small
Waist
 J^nickers with Cuffs Jittached
These knickers are drafted best from the regular
measure of trousers, with a snug measure taken
around the knee.

The Following are the Meas\irements Used:

Outside 41 J4 i"- Seat 17 in.

Inside 32 in. Knee 13 in.

Waist 32 in. Bottom of cuff 13 1/^ in

To Draft
Square out and down from A. I to R is 1% in.

A to C is 934 inches, being the distance between Square down from R.

the outside and inside seam lengths. M to N is ^ of the knee measure.
C to D is J/2 the actual length of the leg. C to 9 is >4 in.

D to E is 2y2 in. Shape from L to 9 and R and down to the

E to B is 3^ in. for cuffs. bottom.
Square out from C, D, E and B. R to O is one-third of the knee measure, 13 on
C to F is ^ of the seat measure plus J2 in. the thirds.
F to S is J^ of the seat measure. Square down from Q.
S to G is 1/24 of the seat measure. N to O is i;'j of the knee measure.
H is half way between G and C. F to T is 1/6 of the seat measure.
Square up and down from H. Shape from P to T and S, allowing J4 in- at T.

J to K is ^ of the waist measure. Shape from P to T and G, reducing 54 i"- at T.

Rule a line from F to K. Shape from S to O and Q down to the bottom.
K to P is y. in. Shape from G to O.

Rule a line from P to J and out to L. Place your front part on another paper and com-

J to L is J4 of the waist measure. mence drafting.

Back Part
Square up from J. X to 2 is the waist measure plus 1 in.

Sweep back from L, using point N as the pivot. X to Y is the seat measure plus 1 in.

Square out from S. Take out a V as indicated by 1 and 6, amounting

J to X is 1/6 of the seat measure. to the distance between 2 and Y minus two seams.
Rule a line from T to X. Shape back part from Y to Z, V, 5 and 8.

9 to Z is XYz in. S to W is 1/12 seat measure plus Yz in.

I to 4 and I to 5 are each ^X in. more than one- Shape from Y to 6, 1 to X, X to T and T to W.
third of the knee measure. Shape from W to U, 4 and 7.

M to U and M to V are each % in. more than Shape from 8 to 7.

one-third of the knee measure. The cuff closes with 4 buttons and holes.

Apply bottom measure of cuff across the front part A button stand is allowed on the back part as
and from 7 to 8 on back part and add to same 1 in. indicated bv dotted line from 5 to 8.

116
Knickers with Cuffs Attached

in
 li^lding Breeches
Mea.sures as Follows:

Rise 10 in. Full length 26 in.

Waist 33 in. Width of knee U% in.

Seat 39 in. Width of small knee IZyz in.

Length to knee 14^^ in. Width of calf Uy2 in.

Length to small knee l"^^ in. Width of bottom 10 in.

Length to calf 2U '2 m.

To Draft
Square out and down from A. I to R is 34 small knee measure.
A to B is the rise, or 10 in. J to T is 34 calf measure and G to Y is 34 of
Square out from B. ankle measure.

B to C is 3^ of seat measure. Square up from F.

C to D is 1/12 of seat measure. K to L is 34 waist measure.

D to E is 1/12 of seat measure. K to M is 34 waist measure.

F is half way between D and B. Rule a line from D to L.

C to N is >4 in. Drop the front }^ in. at L and shape as indicated

Place corner of square at F, letting short arm of
from L to E, E to Q, Q to R, R to T and T to Y.
same rest on N and square down as shown by dash Take out a V of 34 in. at Q as shown in this illus-
tration.
lines in center of trousers.

F to H length to knee or 14>>4

H to P is I34 in- and G to V is 1 in.
is in., plus 3^ in.

F to I is the length to small knee or 17^/2

H to O is 334 in.
in.
Square back from O.
F to J is the length to calf or 21 J4 in.
B to Z is 134 in.
F to G is full length or 26 in.

Square both ways from H.

Shape as indicated from M to Z, Z to P and P
to V.
Square both ways from L
Extend the waistband and place the split fall in
Square both ways from J and G.
the manner illustrated in the diagram and cut out the
H to O is J4 knee measure. front part.

BeiLck Pevrt
Place the front part on another paper. Apply small knee measure plus 1 in. from S to
Extend line at K. R and R to 5.

From K to X is 1/6 seat measure, plus J-4 in.

Apply calf measure plus 1 in. from U to T and
Rule a line from D to X.
T to 7.

E to 2 is ly in.
Take out a ^^ of 1 34 in. in the back at point G and
apply ankle measure plus 134 in. from V to Y, Y to
Shape as indicated from X to 2.
G and V to 8.
Extend the line from M,
Shape as indicated from W to 10, 10 to 4, 4 to 5,
Apply waist measure plus 1 in. from L to M and
5 to 7 and 7 to 8.
X to W.
Cut back part from 4 to R
off the in the manner
Z to 10 is 2 in.
indicated in this diagram and take out 1 in. at the
Apply knee measure plus 1 in. from P to Q anil center line.

O to 4. Extend the waistband and finish as represented.

Riding Breeches

119
 liiding Breeches
The draft is produced from the following nieas- Seat H m.
tirements Knee 17 in.

Rise 9>4 in. Small knee 13>^ in.

Inseam Z2 in. Calf 14 in.

Waist 32 in. Ankle 10 in.

To Draft
Square out and down from A. 28 to 11 and 28 to 14 are each 34 of the calf
A to C is the rise, or 9y2 in. measure.
C to E is 2 in. less than ^4 of the inseam measure, I to 5 and I to 6 are each 34 of the ankle meas-
or 14 in.
ure.
C to B is 2y2 in. less than the inseam measure.
E to D is 3 in.
M to 24 is 134 in.

is half way between B and D. 28 to 10 is 1 in.

Square out C, E, D, O and B. I to 9 is 3/1 in.

C to F is 1/ of the seat measure, plus 3-2 in. 17 to 20 is 1/6 of the knee measure.
F to S is 3/^ of the seat measure. Shape from L to C, extending 34 in. at C, 20,
S to G is 1/24 of the seat measure. 24, 10 and 9.
H is half way between G and C. In order to have the outside run well toward the
Square up from H. front, the front part is thus reduced, and while the
B to I is same distance as C to H. average amount is given, the exact amount cut off
Rule a line from H to I.
from the fore part would vary a little, according to
J to K is % of the waist measure.
whatever is taken off the front part must be
style
K to Q is J<^
in.
;

added to the back part.

Rule a line from Q to J and out.
L 34 of the waist measure.
Shape from to T and S, extending 14 i"- a-t T.
J to is

Rule a line from F to K.

Shape from Q to T and G, reducing 34 in. at T.

F to T is 1/6 of the seat measure. Shape from S to 18, 12, 11 and 5.

17 to 22 is 34 of the knee measure. Shape from G to 18.

M to 12 and Al to 13 are each 34 of the small Extend the waistband from L to K and the front
knee measure. part is completed.

Back Part
Cut out the front part and place same on another 12 to 2i and 11 to 15 are each 1 in.
paper. 5 to R is 134 in.

Square across at knee, small knee, calf and ankle. Apply knee measure plus I34 in. from 18 to 20,
Square up from J. 21 and 27.
Sweep from S to W, using point 18 as the pivot. Apply small knee measure plus I34 in. from 12
Sweep from L to Y, using point 20 as the pivot. to 24, 23 to U and V to 25.
J to X is 1/6 of the seat measure. Apply the calf measure plus 134 in. from 11 to
S to W is 1/12 of the seat measure, plus 3^ in. 10, IS and 16.
Rule a line from T to X. Apply ankle measure plus 13/ in. from 5 to 6,
Apply waist measure plus 1 in. from X to 2. R to 7 and 8 to N.
Apply seat measure plus 1 in. from X to Y. Shape side of back part from Y to Z, 27, 25,
Take out a V at 1 and 4 amounting to the dis-
16 and N.
tance between 2 and Y minus two seams.
Shape from Y to 4, 1 to X, X to T and T to W.
17 to P is 2 in. M to U is % of an inch.
M to V is J^ of an inch.
Shape from W to 21, 23, 15 and R.

1 to 7 and I to 8 are each 34 in. Shape from N to 8 and 7 to R.

Points 7 and 8 are 34 in. above point I. Extend waistband to the top of breeches.
Shape as indicated from P to 17, U to 28 and 7. The inside reinforcement extends from crotch
Shape from P to V, 28 and 8. down to calf, as shown in the diagram shape ; rein-
18 to 21 is 34 in. forcement in a like manner and finish as shown.

120
Hiding Breeches

121
 Spring Bottom Trousers

All systematical points for this kind of trousers Suppose measures to be:
are obtained in the regular manner with the exception Knee 17 m.
of the bottom. Bottom 20 in.

To Draft
From I to 6 is 4^^ in. P to N is y2 bottom measure plus 1 in.

Square back and forth from 6.

R to 9, 2 to 3 and O to U are each 1 in.
Extend y^ in. extra length to front part at
Shape as shown in illustration from V to 5 and B.
point I.

Make no other changes to front part from regu-

Shape from U to 3 and N.

lation. Shape from B to I and N and finish as repre-

R to B is J/2 bottom measure. sented.

122
Broad Falls and Split Falls

Broad Falls
Broad fall trousers are cut the same

as any other trousers, with the ex-

ception that the fall-bearer is an ad-
dition.

The first diagram shows the broad

fall pants, the solid line showing the
fall-bearer.

Six buttonholes are usual in the

fall and as many buttons in the fall-

bearer.

The bearer is cut high enough to

make up for the waistband.

The opening in the side is two-

thirds of the rise of the waist, or
I

about 7 or 8 inches.
Pockets are put in the bearer as
indicated.

On the back part which the dotted

line indicates, a waistband must be

added.

Split Falls
The lower diagram shows the older

style or split fall.

The width of the fall is one-sixth

of the waist measure, and the open-
ing is finished with a strap ^ inch
wide, the end turned in so as to

make it point as shown in the dia-

gram. In other respects they are
mafle like the broad falls.
 Over Gaiters and Leggings
A C P ^ I

Over-gaiters are sometimes cut as liigh as to the

knee, but on an average 9 inches in height.
We therefore give a diagram of the average, and
by using the same method for the long gaiter it can
so be produced
Mea.surements Used:
Length 9 in. Ankle 11 in.

Leg 12>< in. Instep 16 in.

Mea.su rements Used a-s Follows:
Calf 13 in. Bottom 23^ in. Length 15 in.

Knee 13 in.
To Draft Calf 13K' i"-
Draw a straight line from A to U.
Ankle 11 in.
Square across from A.
A to U is the length of the gaiter. To Dracft
U to C is 4 in. R is half way between U and C. Rule a line from A to R.
C to B is 4 in. Square across at B, C and U. A to R is the length of the legging.
Square back from R. A to B is 3,'/. in. R to C is 1% in.

C to E is one-fourth of the ankle measure. Square back and forth from A, B, C and R.
Square up line from E to F and G. A to P is one-half the knee measure plus Yi in.

G to P is one-half the measure around the leg B to N is one-half the calf measure plus ^ in.

plus y> in. C to K is one-half the ankle measure plus J^j in.

F to N is one-half the measure around the calf Square down from K.

plus J^ in. Shape as indicated from P to X and K.
E to K is one-half the measure around the ankle A to O and R to L are each 2"^ in.
plus 3^ in. Rule a line from L to O this is where you place
;

E to M is one-half of the instep measure plus the buttons.

y2 m. A to G and R to S are each 2^ in.

M to S is one-half of the bottom measure plu.s Rule a from G to S.

line L to U is 1 '4 in.
yi in. Square up from U and make this the button stand.
Shape as shown in the diagram from G, F, E Shape as indicated from G to F and down to the
and S, S to U, and M, and from P to N. K and M. bottom, extending one inch at S.
Buttons should be placed in the middle of the line, Shape the button stand as indicated by extending
and in order to obtain this, add to both hack and one inch at U.
front Ti. in. from line A U. Place buttons on the side as shown in this diagram
Put on heel straps at L' and finish as shown. and finish as shown.
124
MILITARY,
LIVERY and
SPORTING
GARMENTS

125
Description of Garments for Officers of the Army
Fvill Dress Coat
For all officers, except Chaplains. —A double-breasted frock coat of dark blue cloth, with standing

collar ; the skirt to extend from one-half to three-quarters the distance from the point of the hip to

the l)end of the knee ; the lining to be black, with pockets on the inside of the skirt.

For general officers the collar will be made of blue black velvet ; the sleeve will have a cuff of blue

black velvet 4 inches wide. For other officers the collar will be made of the same material as the coat,

and the cufTs will simply be a continuation of the material of the sleeves.

SHOULDER ORNAMENTS.— For general officers, epaulets.

For all other officers, shoulder knots of gold wire cord, to be securely fastened to the coat, and to

be made detachable for all officers.

COLLAR ORNAMENT. — The ornamentation of the collar for the General will be such as he may
prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General.

For other general officers the collar will be ornamented with a band of oak leaves embroidered in

gold, and extending all the way around.

For all other officers the ornament will consist of two bands of J/2 inch gold wire lace, two vel-

lums, passing all around the collar and parallel with its edge, the upper edge of the upper band being

y^ inch from the edge of the collar, the lower edge of the lower band resting on the collar seam.
The upper band to be brought down parallel to the front edge of the collar and distant 34 inch there-
from, and to be joined to the lower band. The two bands of gold wire lace to be on a ground of silk

or cloth of the color of the facings of the corps, department or arm of the service, with an interval of

not less than J4 inch nor more than V^ inch between the bands.
SLEEVE ORNAMENT. —The ornamentation of the sleeve for the Generals will be such as he
may prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General.

For other general officers the velvet cuff of the sleeve will be ornamented with a band of oak
leaves embroidered in gold passing around the cuff ; the top of the band of oak leaves to be 1 inch

below the upper edge of the velvet cuff; to be surmounted by two stars for a major general and one
star for a brigadier general, embroidered in silver, each star to have one point up and placed above the
velvet cuff.

For general officers of the staff departments, except the General Staff' Corps, the proper insignia

will be placed 1 inch above the velvet cuff, and the stars, as before, 1 inch above the insignia.

For all other officers the sleeve will be ornamented with a band of Yi inch gold wire lace, two
vellums, passing around the cuff 2^-2 inches from the end of the sleeve ; to be surmounted by the insignia
of rank, indicated by flat gold wire lace Y^ inch in width. The insignia of the corps, department or

arm of service, in gold or silver metal or embroidery will be placed in the center of the open space
under the lace insignia.

BUTTONS. —Two regulation gilt buttons will be placed at the back of the waist, and one regulation

gilt button near the end of each skirt, making four buttons on the back of the coat, for all officers.

Three small regulation gilt buttons will be placed on the cuff at sleeve for general officers only.
For officers of the various grades regulation gilt buttons will be placed on the breast of the coat as
follows

GENERAL. — Two rows, twelve in each row, placed bv fours, the distance between rows being from
8 to 10 inches at the top and from 4 to 5 inches at the bottom ; rows and groups to be symmet-
rically disposed.

121)
 U. S. Army Uniforms

LINE OFFICER'S FULL DRESS

i
SOCIAL DRESS UNIFORM
DISMOUNTED

127
 U. S. Jirmy Uniforms
LIEUTENANT GENERAL. — The same as for the General, except that there will be ten buttons
in each row, the upper and lower groups by three and the middle groups by fours.
—
MAJOR GENERAL. The same as for the General, except that there will be nine buttons in each
row, placed by threes.
BRIGADIER GENERAL.— The same as for the General, except that there will be eight buttons in

each row, placed in pairs.

COLONEL, LIEUTENANT COLONEL AND MAJOR.— The same as for the General, except

that there will be nine buttons in each row, buttons at equal intervals.
CAPTAIN, FIRST LIEUTENANT, SECOND LIEUTENANT AND ADDITIONAL SECOND
LIEUTENANT. —The same as for a Colonel, except that there will be seven buttons in each row.
FOR THE CHIEF OF ENGINEERS.— The same as that of general ofificers, with the following
exceptions
Piping: A
piping of scarlet velvet >^ inch wide, to be placed along the upper and outer edges of
the lapels, continuing down the edges of the skirt to the bottom, and from top of back flaps in middle
of back to bottom of skirt.
Skirt Facings: To be of scarlet velvet with one row of Yz inch gold two-line vellum thread lace
placed upon white braid, showing 3-32 inch of braid on each side, }4 inch from the outer edge of the
scarlet velvet, following the vertical and horizontal lines, with a regulation gilt button placed in the lower
corner of the scarlet velvet just inside the gold lace.
For all other officers of the Corps of Engineers. —The same as for other officers, with the following

exceptions
Piping: A piping of scarlet cloth yi inch wide, to be placed around the base of neck, the edge
of collar lace along top, and down the front edge of lapel, stopping at the bottom, and from top of
back flap in the middle of the back to the bottom of skirt.
Skirt Facings: To be of scarlet cloth with one row of J/' inch gold wire two-vellum lace placed
upon white braid, showing 3-32 inch of braid on each side, ^4 inch from the outer edge of the scarlet

cloth, following the vertical and horizontal lines, with a regulation gilt button placed in the lower corner
of the scarlet cloth just inside the gold lace.
—
For Chaplains. A black frock coat, without ornamentation, with standing collar, one row of nine
black silk buttons on the breast. Of same length as for other officers.

Dress Coat
—
For general officers. A sack coat of dark blue cloth or serge; three small regulation gilt buttons
will be placed on the cufT at sleeve high rolling collar double breasted, with two rows of regulation gilt
; ;

buttons grouped according to rank, as on the full dress coat the skirt to extend one-third the distance
;

from the point of the hip to the bend of the knee. A slit extending from 2 inches above to 2 inches
below the hip, so as to permit of hooking up of saber. A shoulder strap will be placed on each shoul-
der, adjacent to the seam, and collar ornaments on the collar. Inside pockets.
—
For all other officers. A single-breasted sack coat of dark blue cloth or serge, with standing collar
fastened with two hooks and eyes coat to close with flap containing suitable concealed fastenings
;
slit ;

not exceeding 3 inches for hooking up saber the skirt to extend from one-third to two-thirds the distance
;

from the point of the hip to the bend of the knee, according to the height of the wearer cut to fit the :

figure easily; a vertical opening at each side of the hip, according to pattern. The coat to be trimmed
with lustrous flat black mohair braid 1^4 inches wide, as follows: Edged all around the bottom, the
front edges, the collar, and for 6 inches upward from the bottom along both side openings of the skirt.
Shoulder straps and collar ornaments will be worn with this garment.

Service Coat
For all officers. —A single-breasted sack coat of olive drab woollen material or khaki-colored cotton
material, made with two outside breast choked-bellows pockets and two outside pockets of same pat-
tern below the waist ;
pockets to be without plaits and covered by flaps, rounded at edges, buttoned by

128
 U. S. Army Uniforms

FIELD OFFICER— MOUNTED GENERAL OFFICER'S UNIFORM

129
a small regulation button. The coat to have falling collar, from 1 to 1;54 inches in width, depending
on the wearer. On each shoulder a loop of the same material as the coat let in at shoulder seam and
reaching from the sleeve seam to the edge of the collar, and buttoning at the upper end with a small
regulation button; loops to be 2 inches wide at the shoulder end and 1 inch wide at the collar end. The
coat to fit closely at the waist and loosely at the chest, at least 5 inches in excess of the chest measure-
ment ; buttoned down the front with five regulation buttons. The skirt to extend one-third the dis-
tance from the point of the hip to the bend of the knee. Sleeves to be without cufTs. All buttons for
this coat to be of dull finish bronze metal.

Collar ornaments will be worn with this garment. The insignia of rank will be placed on the
shoulder loop, near the sleeve seam. Chaplains will wear a plain Latin cross of dull finish bronze metal
in lieu of the insignia of rank.

Officers of the General Staff Corps, except the Chief of Staff, will wear a band of black braid i/S

inch wide on the sleeve of the service coat, the lower edge of the braid 3 inches from the end of the
sleeve.

White Coa.t
—
For all officers. A single-breasted sack coat of white material, with standing collar fastened with
two hooks and eyes, white metal coat to close with a flap containing suitable concealed fastenings. The
;

skirt to extend from one-third to two-thirds the distance from the point of the hip to the bend of the
knee, according to the height of the wearer ; cut to fit the figure easily ; a vertical opening at each
side of the hip, according to pattern. The
trimmed with white flat braid 1J4 inches wide, as
coat to be
follows Edged all around the bottom, the front edges, the collar, and for 6 inches upward from the
:

bottom along both side openings of the skirt. White shoulder loops of the same material as the coat,
let in at shoulder seams, and of the pattern prescribed for the service coat.

Insignia on the collar to be the same as prescribed for the dress coat ; insignia of rank to be placed
on the shoulder loop, as prescribed for the service coat.

OvercoBLt
For all —A
double-breasted ulster of olive drab woolen material, suitably lined, and closing
officers.

by means of five large buttons 45 lines diameter; a standing rolling collar, the "stand" to be not less
than }i nor more than lj4 inches, and the turn down (falling) part not less than 4 nor more than 5
inches in width. Collar in front to be closed by two hooks and eyes; a flap of same material as the
coat, 5 inches in length and 2 inches in width, provided with one buttonhole at each end, made de-
tachable, so as to close the falling part of the collar when worn closed.

A
pocket on each side, placed vertically, lower end of pocket 2 inches below the hip bone, extending
from 8 to 10 inches upward. Over the pockets a flap of same length, rounded at edges and closed by
a small button at middle of flaps. Slits of pockets to be cut through linings, thus permitting the slings
to come through left pocket hole for hooking up of saber. The back to be slit up from the bottom
20 to 25 inches and closed by small buttons under concealed flap, the latter buttoning from right to left.
Coats to extend down the legs from 8 to 10 inches below the knee, according to the height of the
wearer. Sleeves loose, without cuffs or slit. Back straps placed at waist line, let in at the side seams,
and to button together by two large buttons.

A hood of same material as coat, lined with suitable material of same color; made to button around
the neck under the collar by means of five small buttons. Hood to be large enough to cover the head
and cap. When in garrison the hood will ordinarily be worn only at night or in inclement weather.
Under arms, only when prescribed by the commanding officer.

All buttons to be of horn, conforming in color to the material of the coat.

The front corners of the skirt to be provided with buttons or hooks, so that said corners may be
turned back when it is necessary to facilitate marching.
Insignia on Sleeve. — Sleeve insignia of rank as prescribed : in addition thereto the insignia of corps.
 U. S. Army Uniforms

MILITARY OVERCOAT MILITARY CAPE

131
department, or arm of service, of diill finish bronze metal, will be placed in the middle of the lower
loop 13^ inches above the end of the sleeve.
For general band of lustrous black mohair braid, 1,'4 inches wide,
officers the insignia will consist of a

placed with its lower edge 2^ surmounted by the proper number of stars, 1
inches above end of sleeve ;

inch in diameter, of dull finish bronze metal, placed % inch above the braid the stars to be surmounted ;

by a band of lustrous black mohair braid 3^ inch wide, 34 inch above the stars.
Overcoats for chaplains to be without insignia of rank.
Officers of the General Stafif Corps, except general officers, will wear a band of black mohair braid
% inches wide on the sleeve, the lower edge of braid to be l^A inches above the end of the sleeve, the
lower ends of the prescribed insignia of rank to rest upon the upper edge of this band.

Cacpes
For all officers. —To be of dark blue cloth without braid binding, reaching at least to the tips of the
fingers with the arm dropped at the side, and not below the knee ; with a rolling collar of black velvet
3 inches broad, and closing at the throat with a long loop. It may be worn by all officers when not
on duty with troops under arms. To be lined as follows
For general officers and officers of the Staff Corps and departments. Dark — blue.
For officers of infantry. Light blue. — For officers of artillery. — Scarlet.
For officers of cavalry. Yellow. —
Full Dress Trousers
For general — Of
dark blue cloth, with two stripes of gold wire lace 3^ inch wide with 34
officers.

inch interval between them, mounted upon light weight velvet of color of cuffs and collar of coat and
placed along the outside seam of the trousers. In the case of the Chief of Engineers the interval between
the two stripes shall be scarlet velvet.
For officers holding permanent appointments in the Staff Corps and departments, except Engineers.
Of dark blue cloth, with one stripe of gold wire lace Y^ inch wide along each outside seam.
For —
and infantry. C)f sky blue cloth with stripes 13^ inches wide, welted
officers of cavalry, artillery

at the edges ; the color of the stripes to be that of the facings of the respective corps or arms, except that
for officers of infantry the stripes shall be white.
For all officers of the Corps of Engineers. — Of dark blue cloth, with stripes of scarlet cloth 13/$ inches
in width, with a piping of white cloth 34 inch in width.
For chaplains. — Of plain black or blue black cloth, without stripe, welt or cord.

Dress Trousers
For general officers, officers holding permanent appointments in the Staff Corps and departments, ex-
cept Engineers. —Of dark blue cloth without stripe, welt or cord, except that for the Chief of Artillery the
trousers shall be of blue light cloth with the addition of a stripe of scarlet cloth I3X inches wide.
For all other —The
officers. same as for full dress.

White Trovisers
For all officers. — Of plain white material to match the white coat, without stripe, welt or cord.

Service Trousers
For all officers. — Of olive drab, woolen, or khaki-colored cotton material, to match the coat, without
stripe, welt or cord.

Dress Breeches
For all officers. — Of same
material and with same stripes as dress trousers, cut in the prescribed
pattern and fastened from the knee down with dark bone buttons of appropriate size or with laces.

Service Breeches
For all officers. — Of olive drab woolen or khaki-colored cotton material, to match the service coat,

132
 U. S. Army Uniforms

\:

DRESS UNIFORM SUMMER UNIFORM

133
without stripe, welt or cord. To be and above the knees to fit closely below
made loose about the seat ;

the knee, extending to the tops of the shoes, and to be fastened with tapes or laces or buttons. To .

have a re-enforced or saddle piece of the same material on the seat and legs for officers required to be
mounted.

Uniform for Evening Wear

The commanding officer will designate the uniform for evening wear on all occasions of a general
or official character occurring within the limits of his command.
For occasions of special formality, the uniform for evening functions shall be the prescribed full
dress dismounted uniform.
For other occasions of ceremony to which officers are invited in their official capacity, such as balls,
official dinners, official receptions, etc., and formal mess dinners, the following special full dress uniform

is authorized, and officers are at liberty to wear it or the full dress dismounted uniform

An evening dress coat of dark blue cloth cut on the lines of the civilian dress coat, with the gilt but-
tons of the same number and place as regulation requires the sleeves of this coat to be ornamented for
;

all officers in the same manner as the sleeves of their full dress uniform coats.

A waistcoat of dark blue or white, cut low with full open bosom, three small gilt regulation but-
tons, should be worn with this coat; also full dress trousers by all officers except those of engineers,
cavalry, artillery and infantry, who will wear dark blue trousers without stripes, patent leather shoes and
full dress cap. Shoulder ornaments for general officers will be epaulets or shoulder knots for other ;

officers, except chaplains, shoulder knots. On proper occasions which are not official in character, officers
are authorized to wear civilian evening dress.

Mess Jacket
Officers of the staff corps and departments, the corps of artillery and the regiments of cavalry and
infantry are authorized to adopt a "mess jacket" distinctive of their corps, department or regiment.
To be made of dark blue cloth. Body of jacket to be cut like evening dress coat, to descend to point
of hips, slightly curved to a peak behind and in front; five buttonholes on lapels, three buttons of regu-
lation coat size on each side, placed IJ^ inches from bottom, and spaced 2 to 3j^ inches apart. Sleeves
to be ornamented same as full dress coat. Such further distinctive ornamentation of this jacket as may
be desired by the organizations named is authorized, but when once adopted the "mess jacket" for any
particular organization shall not be changed without authority of the Secretary of War on the recom-
mendation of a majority of the officers interested.

With this jacket will be worn the detachable shoulder knot provided for full dress coat; also vests
of the color of the coat or white.
Commanding officers may in the tropics or in the warm season authorize the white trousers to be
worn with this jacket.

Black shoes will always be worn with this jacket.

Professors and associate professors of the United States Military Academy holding permanent ap-
pointments as such, will wear the full dress and dress uniforms of officers of the Military Secretary's
Department, omitting the aiguillettes.

DESCRIPTION OF GARMENTS AND OTHER ARTICLES OF

UNIFORM FOR ENLISTED MEN OF THE ARMY
Dress Coat
A single-breasted sack coat of dark blue cloth, fastened with six regulation buttons down the front
standing collar ; shoulder loops, of the same material and color, let in at the shoulder seam and to but-
ton to the collar with a small regulation button ; the sleeves to have a cuiT, ornamented with three small
regulation buttons. The collar, shoulder loops and cufifs to be piped with "cord edge braid" of the color
of corps, department or arm of service. The color of the braid for Engineers, Ordnance, Hospital Corps
and Signal Corps to be mixed in alternate stripes.
 U. S. Army Uniforms

CHAPLAIN KNIGHT TEMPLAR UNIFORM

J 35
 Collar ornaments for enlisted men, of _vellow material similar to those for officers, will be placed on
this coat in the same manner on the dress coat of the officers.
as
Musicians and trumpeters wear the insignia of regiment or corps on
will their coat collars. Band
musicians a lyre, same as worn on cap.

Breast Cord
Cords and tassels of mohair of the color of the corps, department or arm of the service, to be at-
tached to the dress coat, beginning at the button of the left shoulder loop, one cord passing in rear of the

neck and the other in front, under the first button of the coat, crossing under the right shoulder loop
and brought together under the right arm with a slide, then passing across the breast between the third
and fourth buttons and attached to the left shoulder button.

Service Coat
A sack coat of olive drab woolen material or khaki-colored cotton material conforming in design and
cut to the service coat for officers. The same collar ornaments will be placed on this coat as on the
dress coat, except that all buttons and metal ornaments will be of dull finish bronze metal.

White Coat
A sack coat of bleached cotton duck. Collar ornaments to be the same as prescribed for the dress
coat.

Fatigue Coat
For ail enlisted men. — Of brown cotton duck.

Overcoats
For all enlisted men. —Of olive drab woolen material, general design and cut to be that of the officers'
overcoat, the buttons to be of dull finish bronze metal.

Dress Trousers
For all enlisted men. — (_)f sky blue kersey.

Stripes for Trousers

Stripes to be of cloth of the following colors
Cavalry.— Yellow. ( )rdnance. — Black, piped with scarlet.
Artillery.— Scarlet. Post Quartermaster Sergeants. —Buff.
Infantry. — White. Post Commissary Sergeants. — Cadet gray.
Engineers. — Scarlet, piped with white. Hospital Corps. —Orange, piped with white.

Army service detachment of the United States Military Academy, West Point, N. Y. — Buft'.
All noncommissioned officers above the rank of corporal will wear stripes 1>4 inches in width, in-
cluding pipings. All corporals will wear stripes ^^ inch wide, including pipings.
Musicians and trumpeters will wear two stripes, each ;/ inch wide.

White Trousers
Of bleached ciittun duck, without stripes.

Canvas Fatigue Trousers

Of brown cotton duck, without stripes.

Service Breeches
of drab woolen or khaki-colored cotton material, to match the service coat. To be worn with-
olive
out stripes; to be made loose above the knee, fitting closely below the knee, extending to the tops of
the shoes, and fastened with tapes or laces to be worn with shoes and leggings.
;

For mounted use, to have a reinforced or saddle piece of the same material on seat and legs. The
general design of the breeches will conform to the pattern prescribed for officers.
DIAGRAMS for
UNIFORMS.
LIVERY and
SPORTING
COSTUMES

137
Frock Uniform for U. S, Army Officers, Mounted and
Unmounted
Proportionate draft subject to height, variations Measurements as Follows:
and supplementary measurements. Note that in mih- Natural waist 1/ ni.

„ X Fashionable waist I8J/2 in.

tary garments proportion is ciianged so as to make
, , I

^ ^
-r- ,, , 1 ii
^ _ Full length ii in.
"
blade K' 'i- smaller, and waist measure is 1 in. less Breast 36 in.

than proportion, which would be preferable in all

Waist 31 in.

military garments. Seat 57 in.

To Draft
Square out and down from A. Shape as shown in illustration from A to R, R to

A to V is 1/3 breast measure. 11, 11 to 23, 23 to 8 and down.

V to B is 3 in. . L to M is 2 in.

A to C is natural waist length. M to 4 is >^ waist measure.

A to D is fashionable waist length. 4 to U is waist suppression, divided in three eqiml
A to E is full length of coat. parts, as Figures 4, 2 and 3 indicate.

Square out B, C, D and E. 8 to 7 is 2/3 waist suppression, or same distance

B to F is 1/3 breast measure. as 2 to U.
F to H is 1 in. 7 to 6 is >4 waist measure.
•

B to S is ^ breast measure. 6 to 5 is 1/3 waist suppression, or same distance

S to G is 3 in. as 4 to 2.

G to W is l/'6 breast measure. 24 to 10 is )4 in.

B to N is breast measure. Point 20 is ^ in. below fashionable waist line.

N to I is 2j4 in. Point 21 below fashionable waist

is 3/2 in. line.

Square up and down from I. _

Square down from 24.
Square up from W. R"le a line from G to 23.
Square up and down from G. 23 to 13 is 3/s in.

Square up from H. Shape as shown in illustration from 13 to 7 and

Sweep back from point 1 to X, using point G as down to 10.

a pivot. Shape as shown in illustration from S to 6 and 20.

1 to X is yi in. Shape from S to 5 and 21.
A to T is 1/6 breast measure. Shape bottom of side body from 24 to 20.
T to R is ^ in. Shape bottom of front part from 21 to 35.
Rule a line from to R. W X to Y is same distance as R to 11 minus 3/s in.
Square back from point K. finding ])oint Z. Q to P 1/6 breast measure.
is

Rule a line from X to Z. Shape armhole as shown in illustration from Y

Square out from X by balance line. to 13.

X to Q is 1/6 breast measure. Shape shoulder from Y to X.

L to is J4 waist measure. Shape neckhole from X to P.
Shape as shown in illustration from O to I, and Shape front as shown in illustration from P to 22

down as dotted lines. and down to 9.

22 to 9 is 1/6 breast measure plus jA in. Take out V stipulated between 27 and 35.

Square back from 9. From 33 to 30 is same distance as 33 to P.

9 to 27 is 334 in. Shape as shown in illustration from 30 to 31.

27 to 35 is same distance as 9 to 34. 30 to 28 is 4 in.

C to U is y2 in. 26 to 25 is 3}i in.

Square down from U and rule a line from \' to U. Rule a line from 28 to 25.
U to 8 is 1/6 breast measure. Shape bottom of lapel as shown in illustration, and
Square down from 8. place buttons and l)uttonholes as shown.
K to 23 is 1/6 breast measure. Lav up a standing collar in connection with this
K to 11 is J/2 in. diagram as per illustration, and be sure it is in length
Add }i in. to top of back at point A. the same distance as from A to R and X to P.

138
 Frock Uniform for U, S. Jlrmy Officers^ Mounted and
Unmounted

Skirt
10 to 14 is 1/3 seat measure. From 10 to 17 is same distance as from D to E.
14 to 15 is 1/12 seat measure. 12 to 29 is same distance as from 10 to 17 minus
10 to 12 is same distance as 24 to 20, 21 to 35, 1 in.
and 27 to 25. Shape top of skirt, front and bottom, as well as
Square down from 12 bv fashionable waist line. back of same, and finish as shown.
139
 Military Blouse
Measures as Follows:
Waist length 17 in. Breast 36 in.

To seat 23)^ in. Waist 31 in.

Full length 29 in. Seat 2)7 in.

To Draft
Square out and down from A. Rule a line from B to 23.
A to \' is 1/3 breast measure. C to 21 is 1 in.

V to B is 3 in. Square down from 21.

A to C is natural waist length. Rule a line from Z to 21.
A to D is length to seat. 21 to 4 is 34 waist measure.
A to E is full length of coat. 14 to 10 is ]/4 seat measure.
Square out from B, C, D and E. Shape as shown in illustration from 11 to 23, 23
B to F is 1/3 breast measure, to 4 and 10 and down to 5.
F to H is 1 in. O to P is 1/6 breast measure.
B to S is 3^2 breast measure. Rule a line from J to P.
S to G is 3 in. Shape as shown in illustration from X to P.
G to W is 1/6 breast measure. Shape shoulder from Y to X.
B to N is breast measure. Shape armhole as shown in illustration from Y
N to I is 2^4 in. to 23.
Square up from W. L to M is 2 in.
Square up and down from G. S to 19 is % in.
Square up from H. M to 7 is yi waist measure.
A to T is 1/6 breast measure. 7 to 21 is waist suppression, which is divided into
T to R is J4 in- two equal parts, as Figures 7 and 2 indicate.
Rule a line from to R. W From 4 to 3 is 3^ waist suppression, or same dis-
Square back from K, finding point Z. tance as 2 to 21.
Sweep back from point 1, using point G as a pivot. From M to 8 is J/j waist suppression, or same dis-
1 to X is i^ in.
tance as from 2 to 7.

Square out from X by balance line. Apply seat measure on 2/3 of divisions plus IjX
X to O is 1/6 breast measure. in.from 10 to 14 and U to 12.
L to is 54 waist measure. Shape as shown in illustration from 23 to 3 and 12,
Square down from 0. from 19 to M
and 17, and from 19, 8 to 18.
Shape as shown in illustration from O to I and 0. Sweep back from point 5, using 23 as a pivot.
Rule a line from X to Z. Sweep forward from 6, using point X as a pivot.
K to 24 is K' i"- Shape as shown in illustration from 6 to 17 and 18
Shape as shown in illustration from A to R, R to to 16.
24 and out. Lay up standing collar l}^ in. wide, as shown in
24 to 11 is ^ in. illustration.

X to 20 is same distance as R to 11. Dotted line in front of blouse ndicates button

20 to Y is same distance as K to 24. stand.
Rule a line from X to Y. Dot and dash line illustrating peak lapel and cut-
K to 23 is 1/6 breast measure. away front shows front of mess jacket.

Mess Jacket
Take out V of Ij/^ in. from P to 15. Shape lapel and front from 15 to 13, and 13 to 21.
From 15 to 13 is ZjA in. Cut away as shown by dash line, and mess jacket
From to 21 is 3^4 in. is finished.
Crease line is shown bv dot and dash line.

140
Military Blouse
Mess Jacket
 Military Overcoat — U. J. Army
Measures as Follows
Waist length 18 in. Waist 36 in.

To seat 25 in. Seat 41 in.

Full length 47 in. Excess of 4 sizes of circumference allowed for

Breast 40 in. exaggeration.

To DraLft

All systematical points are obtained in same man- 16 to 19 is 4 in.

ner as in double-breasted box overcoat, with the ex- Square out from 30.
ception of collar and V taken out in front.
20 to 21 is 3^ in.

Square up and down from I.

Shape front as shown in illustration from 21 to
30 to 20 is same distance as from P to 30.
13, 15 and 19.
to 15 is 4 in.

CoUacr
28 to 27 is 1 in. Make width of collar from 2i to 24 4 in., and
Shape as shown in illustration from 27 to P. same width in back.
From P to 26 is same distance as A to R and
Shape collar all around as per illustration.
X to P.
Place pockets as shown in this illustration, with
Width of collar stand from P to 22 and 26 to 25
flaps and buttons.
is 13^ in.

Shape as shown in illustration from 27 to 23, and Place belt on back with two buttons and finish

allow J4 in. for seam on upper part of collar so as to as shown.

have seam come on inside.

142
 — U.
Military Overcoat J. Army
 General Officer's Dress Uniform
Measures Used as Follows:
Waist length 17^ in. Breast 38 in.

Length to seat 23^ in Waist 33 in.

Full length .29 in. Seat 39 in.

To Draft
All systematical points are obtained in the same Square across from P by line W-1.
manner as for regular military blouse. 21 to 15 is same distance as P to 21.
The difference between this garment and the
15 to 13 is 4 in.
military blouse is that this is double breasted, and
25 to 26 is 3 in.
front is obtained in the following manner
O 1/6 breast measure.
to 25 is
Square down from waist line through 26 and rule
Place corner of square at 25, level same with a line from 13 to 26.
point and square up.

Collar
From P to 27 is same distance as A to R and 27 to 29 is 3 in.

X to P. P to 30 is 3 in.

Shape as shown in illustration from 27 to P. Shape as shown in illustration from 28 to 27, 27

27 to 28 is 154 in. to 29, 29 to 30 and 30 to P, and finish as shown.
Shape from 28 to P.

Ui
General Officer's Dress Uniform
 Circular and Military Capes
111 view of the fact that it is often required tiiat the shoulder and down to side, as well as back length

the cape fall to a certain position on the hand or arm, from back of neck down, and front length from throat
it is advisable to take measurements from the neck over down.

The Draft was Produced from the Following Measures i

Breast 36 in. From neck over shoulder and down at side. . .ZSyi in.

Back length 26 in. Front length 26 in.

To Dratft

Square out and down from A. A to H is 1/6 breast measure.

Square up from A. C to B is 1/3 breast measure.
A to C is 1/6 breast measure. Square out from C and B.
B to F is y2 breast measure. M to N is 1/3 breast measure.
F to G is 3^ in. N to P is 1^4 in.

G to W is 1/6 breast measure. Rule a line from H to P.

Rule a line from H to W and down. Square down from P.

A to T is 1/6 breast measure. Apply back length from A to D.
Square up from T. Apply side length from R to J.
T to R is ^ in.
M
Square out line H-O by line H-W.
Apply front length from to O and shape as

H to M is 1/6 breast measure.

shown by solid line from D to J and S.

Rule a line from E to M. Shape from X to P and S and circular cape is

Shape neckhole from A to R. R to M and out. completed.

Milita.ry Ca.pe

Is produced from same pattern by cutting it open tape shall be basted on the neck to remain there until

from R to E and plait as shown by illustration from E the cape is ready for the collar. Capes lend themselves

to J and U, leaving opening as shown by dotted lines to various styles and lengths, the accompanying drafts
from R to K, reducing width at bottom and front. forming the groundwork. These are intended for style

Dot and dash lines illustrate military cape, as shown of opening through or facing with fly or without but-

by points A, R, E, K, L, V, U and D. ton stand. Some are made with lapels and collars to

It will be noticed that cutting a cape is a very turn down and others in military style as shown in

simple matter. They must be properly balanced to illustration in regular cape. Any style of collar de-

allow the fulness to fall in graceful folds. All of these sired can be attached to these capes for the reason

garments are to be made before the collar is put on. that the neckhole of the cape is the same shape as

Neck being on the bias of the cloth necessitates that a regular coat.

146
Circular and Military Capes

147
 Capes
Regular Cape
Cape is cut with seams over the sliuulders and Back length 32 in.

measures used for illustration are as follows Breast measure 36 in.

To Draft
Back Part
Square out and down from A. Square out from H.
A to C is 1/6 breast measure. H to I is ;^ breast measure.
A to E is full length of cape. Rule a line from R to G.
A to T is 1/6 breast measiu'e. Rule a line from G to I and down.
T to R is }i in. Sweep forward from point E, using point R as a
Square out from C. pivot, finding" point J.

C to F is J<2 breast measure. J to K is 3 in.

F to G is 2 in. Shape as shown in illustration from .A. to R and

Square down from F. R to G.
F to H is % breast measure. Shape from G to I and K and shape from E to K.

Front Part Collar

C to Z is % in. S to 3 is same distance as A to R and R to S.
C to B is 1/3 breast measure. From i to 2 IS \}{[ in.
B to D is 1% in.
Shape as shown in illustration from S to 3 and S
Rule a line from A to D.
to
Square down from D.
From 3 to 4 is 4 in.
E to M is 3 in.
From S to 5 is 4 in.
Shape as shown in illustration from R to S, S to
I) and down to L and from L to K. Shape as shown in illustration from 2 to 3, 3 to

S to is 1'^ in. 4. 5 to 4, and S to 5 and finish.

L to N is iy2 in.

Shape button stand as shown by dash line.

 Clerical Chaplain^ and I^night Templar Coat

In the production of the Clerical, Chaplain and are exactly the same, while they differ in front as re-

Knight Templar coats the same diagrams are used, Sfards buttons.

for the reason that in the production of patterns they

Measurements as Follows:

Natural waist 17 in. ner as for regular frock coat. The only difference is

Fashionable waist 18>1 in. that' these garments have straight front and button up
Full length 40 m.
^^ ^^^^ throat in military style, and have standing col-

lar. There is no other difference in drafting, but for

Waist 22 in.
T_ . other details see fashion illustrations pertaining to
Seat 3/ HI. ^ '^

same.
All systematical points are obtained in same man-

l.iO
Regular Capes
Clerical and I^night Templar Coat

CLERICAL AND KNIGHT TEMPLAR.

 Single and Double Breasted Coachman's Coat

MeaLSuremervts a.s Follows.

Natural waist 17 in. Breast 38 in.

Fashionable waist 19 in. Waist .34 in.

Full length for under coat 7)7 in. Seat . .39 in.

Full length of overcoat 44 in.

To Dracft
All systematical points are obtained in the same From 9 to 12 is 3 in.
manner as for regular frock coat, subject to height, Shape lapel and skirt as shown by solid lines.
variations and measurements according to stipulations Collar has turn down produced as follows
efifect,

in diagrams illustrating same. P to 2)2) is same distance as A to R and X to P.

For single-breasted coat note dash lines in front. 33 to 34 is 1'4 in.

Extend a button stand from I .out to dash line of Shape as shown in illustration from 22 to P and
1J4 in-, and same amount from 22 ^to dash line. 34 to P.
Shape as shown by dash line 33 to 22 is 3J/' in.

This single-breasted coat has a regular coat collar, P to 31 is 3>4 in.

as will be seen by illustration. Shape as shown in illustration from 34 to 33 and

For double-breasted coat follow instructions for 22 and from 32 to 31, and P to 31.
double-breasted frock. In all other details patterns for these garments
From 26 to 27 is 3 in. are produced in the same manner as for regulation
28 to 29 is 4 in. frock coats.

152
Single and Double Breasted Coachman' s Coat

153
 Footman s Coat

I /

Mea-surements as Follows;
Natural waist 17 in. Breast 36 ni.

Fashionable waist 18^ in. Waist 32 in.

Length i7 in- Seat 2)7 in.

To Dra.ft

All systematical points are obtained in the same Place broad flaps at side extending down from
manner as for regular frock coat, subject to height, the front of skirt.

variations and measurements as shown ni illustrations These flaps should be shaped as indicated in this

regulating same. diagram, with a button at each corner.

While the edges meet there is no button stand There should be six buttons on each side of the
extended to front, and this garment is closely on the front, as shown in diagram.

military style. In all other details this coat is produced in the

It has a side edge at the back fold, and this same manner as regular frock coat, subject to sys-

side edge should lie -/;; of the leni^th of the skirt. tematical reeulations for fit, etc.

154
Footman' s Coat

lo5
 Automobile Coat

Measures as Follows: To Dra.ft

18 All systematical points are obtained in the same

Waist length in.

To seat 243/2 in. manner as in single and double-breasted box overcoat,

Length 49 in. with the exception of a V taken out at front, and the

Breast 40 in. collar, which is in military effect.

Waist 36 in. Square up from I.

Scat 41 in. 22 to 21 is same distance as P to 22.

4 sizes of excess to breast, waist and seat. to 15 is 4 in.

16 to 18 is 4 in.

Square out from 21.

21 to 20 is 3^ in.

Shape as shown in iUustration fioni 20 to 13, 15

and 18.

Cut front part of pattern apart from 27 to 25 and

spread same 8 in., as shown, from 27 to F and 25 to
26.

Insert in jiattern a piece of paper 8 in. wide from

23 to 24 and 25 to 26 for inverted plait to extend from
pocket down.
Above pocket add one seam to each side only.

Coll&.r
29 to 28 is 1 in.

Shape as shown by illustration from 28 to P.

From P to 35 is same distance as A to R and

X to P.

Width of stand of collar is 1>4 in. from P to 30

and 35 to 34.

Shape upper part of collar as shown by illustra-

tion from 33 to 31 and allow one seam im upper part

so as to make seam come on inside.

Width of collar from 31 to Zl is 4 in., and same

width in back.

Place belt straps on back of coat and finish.

Jiutomohile Coat
 Chauffeur's Sack Coat

Produced on the style of the Norfolk, but with tration. These straps are sewed on the goods. The
turn down collar and military closing at throat. In pattern is cut regular and these trimmings are laid
drafting a coat of this kind, always add two sizes to on over pattern.
regular measures. For example: If circumference In producing the collar, the distance from P to
is breast 36, waist 32, seat 2>7. the draft should be 20 is same as from A to R and X to P.
38, 34 and 39, so as to make the garment easier. 20 to 21 is 114 in.
All systematical points are obtained in the same Shape as shown in illustration from 21 to P.
manner as in regular sack coat. Variations and Shape from 20 to P. 20 to 19 is 3 in.
measurements are to be allowed as shown in directions P to 18 is 3 in. Shape from 21 to 20 and 19.
in Variations and Measurements. The difference, be- Shape from 19 to 18. Shape from 18 to P.
sides the excess, is that nothing is taken out at point Place at side patch pockets 8 in. in length, with
C. For yoke and straps, as well as belt, follow illus- flap and button, as shown in illustration.

158
 Policemen's Blouse

16-

Mea-surements Used a.re Ols Follows

\\'aist lengtli 17'/ in. It has a straight front and buttons to the throat
To seat 23% in. in miHtary style, and has a turn down collar.

Length 29 in. This coat should be close fitting, and no excess

Breast 36 in. in size is necessary in the production of same. It is

Waist 32 in. understood that drafting is subject not only to pro-

Seat i7 in. portions, but to height, variations and measurements,
All systematical points are obtained in exactly as shown in stipulations in diagram illustrating same,
the same manner as for regular sack coat. The small- This diagram is produced merely to show the small
waisted effect is incorporated, as will be seen by V changes from regular,
taken out in side.

159
 Policemen s Coat

Measures as Follows:
Natural waist 17 in.

Fashionable waist 19 in.

Fnll length 46 in.

Breast 40 in.

Waist 38 in.

Seat 41 in.

To Draft
All systematical points are obtained in the same
manner as for regnlar frock coat, with the exception

of the front, which is produced in military style.

L to is Yi waist plus ^ in.

29 to 12 is 3 in.

12 to 9 is VY in.

Take out a \' as shown by illustration from 12

to 9.

Square out from P.

P to 26 is 2>4 in.

'
Shape as shown by illustration from P to I and 26
to I.

26 to 25 is iy^ in.

29 to 27 is 314 in.

Shape as shown by illustration from 25 to 27.

Place side edge of back as shown in illustration.

Policemen's coats are usually made with standing

collar, as shown in illustration.

If turned down collar is desired see illustration of

POLICEMEN'S nulitarv overcoat.

Policemen's Coat

161
 N o rfo I k
Mea-sures a.s Follows:

Waist length 17^ in. Breast 36 in.

To seat 23% in. Waist .'

32 in.

Full length. .29 Seat ^7 in.

To Dracft

All systematical points are obtained in same man- From 18 to 17.

ner as in regular draft for sack coat, with the excep- Spread pattern 4 in. from 18 to 19 and 17 to 20,

tion that there is nothing taken out at point C, and the being 2 in. for box plait; the other inch on each side is

addition to waist is 4 in. for turn under.

Line up as shown in illustration from 4 to 7 and The back will then assume position shown by

from 9 to 14. dotted lines.

Line up from 20 to 25. The same thing is done with fore part, spreading

to 24 is 1/6 breast measure. the pattern as cut 4 in. from 21 to 23, 22 to 24.
Line up from 25 to 24. The fore part will then assume the position as
18 is half way between 4 and 7. shown by dotted lines.

17 is half way between 20 and 25. Point 23 is brought back to 21 and 24 to 22,
21 is half way between 9 and L which creates a box plait of 2 in.

From 24 to 22 is same distance as from I to 21. Point 19 is brought back to 18 and 20 to 17,

Cut patterns apart as follows : which creates a box plait on back from 18 to 17.

From 4 to 7. Seams of %. in. must be added to all parts from

From 9 to 14. 7 to 4, 20 to 25, 25 to 24 and 9 to 14.

From 20 to 25. Place the pockets as shown, and also belt, cover-

From 25 to 24. ing seam below waist, which completes illustration as

From 21 to 22. shown.

162
 Norfolk Jacket

163
 Golf Coat
L to O is J/ waist measure.
Shape from Q to I, O and down.
Q to P1/6 breast measure.
is

Rule a line from J through P.

Shape from A to R and R to K.
X to Y is ^ in. less than from R to K.
H to F is 1% in.

Rule a line from B to F, as shown by dotted linr.

F to 2 is 3^ in.

Shape from K to 2 and shape from Y to 2.

Shape neckhole from X to P.
Square down from H and shape from 2 to 3, M
down to 5.

C to V is ]/ in.

Shape from A to V and square down from V.

Ap])ly waist measure plus ilA in. from 3 to \^ and
6 to 4.

Apply seat measure plus 2 in. on the % of divis-

ions from J\I to D and \V to N.
Sweep back from 5, using point 2 as a pivot, find-
ing point 6.

Sweep forward from 6, using X as a pivot, find-

ing point 7.

Extend a button stand, 1^4 in- at I, 1 in. at O, and

shape front and bottom as shown, lengthening 1 in.

at point 7.
This finishes the regular draft of sack coat.
To produce the golf or stroke coat do as follows
Place the breast pocket and the lower pocket and cut
out pattern as shown by heavy lines. Plait a piece
of thirteen plaits of 1 in. each and place under pat-
To DraLft tern as shown. Mark around same and this will be

Square out and down from A. the piece to insert for the plaiting. Also place the
A to B is %
breast measure plus 3 in.
belt the same width at back as shown. Give a little

A to C is waist length. spring at bottom to correspond with spring lost in

A to D is seat length. forepart. The back cut without a seam and is
is

A to E is full length. shrunk in at center as shown on drawing. There is

Square out from B, C, D and E. also a box plait in back below belt the same width as

B to G is 3-2 breast measure plus 3 in.

back above belt and is shown by the fine solid and
B to I is breast measure plus 2 in. dash line.

B to H is 1-. breast measure plus lYz in. The breast pocket has a flap to go in and out.

Square up from H. The lower pocket is a patch pocket, as shown.

Square up and down from G. In laying the pattern together deduct the two
(j to S is 1/6 breast measure. seams running down from point 2 that you would
Square up from S. lose on the original pattern and add seams in all
A to T is 1/6 breast measure. places that are lost in putting in these plaits, that you
T to R is J4 in- would otherwise not lose in a regular coat. The
Rule a line from R to S. plaits turn and run each way as shown by the small
Square back from K finding point Z. crosses. They are stitched on the edge close, but not
Rule a line from Z to X. stitched down flat, as they are intended to open out
X to O is 1/6 breast measure. when the stroke is taken.

164
Golf Coat

16.-)
 llidlng Coat

Mea-svirements a.s Follows:

Natural waist 17 in. From K to 23 is 1/6 breast measure.
Fashionable waist 19 in. In producing skirt the distance from point 14
Full length 33 in. to 15 is 1/12 seat measure plus -^4 in.

Breast 36 in. Shape top of skirt as shown in illustration from

Waist 32 in. 24 to 12.
Seat 37 in. Shape from 12 to 27, 24 to 17 and 17 to 27.
All systematical points for shoulders are obtained Flaps may be placed on the sides and patch
in regular manner. pockets on the front part, as shown in illustration.
Exceptions from regular frock coat to riding coat All other details in the production of this draft
areas follows: are identical with regular frock, subject to height.
C to 8 is 1/6 breast measure, making back wider. variations and measurements.
169
 Hunting Sack

Measurements as Follo^vs;
Waist length 17j-j in. sufficient space for ammunition and other things to
Length to seat 23^4 ™- be carried in the pockets. It is cut on the principles
Full length 29 in. of the straight front sack, and has a turn down collar
Breast 36 in. and buttons to the throat in military style.
Waist 32 in. This coat is cut with a straight back and shaped
Seat 37 in. only a little at the sides. As indicated by dotted lines,
All systematical points are obtained in the same a protector is put on the shoulder so as to give more
manner as for regular sack coat, subject to height, service in wear. The pockets are generally patch,
variations and measurements, as shown in directions in and finished with flaps as indicated in draft, and are
diagrams illustrating same, but in producing a coat of unusually large. The breast pocket is about 63^ in.
this kind it is advisable to cut it 2 or 3 sizes larger wide and about 8 in. deep the side pockets are 10 in.
;

than called for by the measurements, so as to allow wide and as deep as the length of the coat will allow.
167
INDIVIDUALITY SECTION
Showing Construction of

Coats and Vests^ Lapels

and Collars different from
the ordinary and which give
Personality to the Wearer,

160
 IndiuLduality
Individuality to the tailor means the process of putting into his garments the different touches

which emphasize and bring out his customer's personality.

No two men are cast in the same mold. Each one has some small distinction which makes him

different from his fellow.

This is personality.

It is personality which makes a man liked or disliked, a success or a failure. A man who has

little personality has but little influence for good or otherwise.

The tailor who is an artistic tailor makes it his business to emphasize this personality as much
as possible. This is the difference between custom-made and ready-made clothing.

A garment which is cut and made so as to suit one man as well as another tends to bring a man
down to the common level, and takes away that attraction which is the birthright of every man.

To increase a man's personality is to make him noticed and increase his chances of success. It

is a cutter's duty to study each customer's build, attitude, character, and even his business, to be able

to produce clothes which shall harmonize with and express his personality.

Progressive cutters should cultivate individuality as well as style in the garments, for, while any

average man can learn system without trouble, the true Sartorial Artist is not satisfied with the

scientific part alone. He who can, by the use of graceful lines and curves, incorporate individuality

with system, and produce garments which heighten the customer's personality and are becoming to

the individual, has solved the problem, and is in fact, as well as name, an artistic tailor.

Individuality is the strongest point today for the custom tailor. The ready-made manufacturer
may obtain the best patterns in the world and work out the most complete system for his workmen,
but for him to produce personal clothes for the individual customer is an impossibility. When a model

has been graded, hundreds, and perhaps thousands of garments must be made from it, and these

clothes must fit hundreds or thousands of men of varying personality, with only the difference in the

height and size to distinguish one from another. The result is that the ready-made manufacturers

make all men look alike.

While I admit that it is possible for them to sometimes produce fitting, and even exaggerated, gar-

ments, they can not produce individuality to the extent that their garments will express the person-

ality of each and every individual wearer.

The more study the cutter gives to the producing of individuality and style, the better will be the

result of his work. The merchant tailoring cutter has an opportunity to display his resources because
he knows his customer's peculiarities, because he prepares a special pattern for each individual cus-

tomer, and because the cloth is cut and made specially from these patterns.

For the purpose of illustrating to the student what is meant by INDIVIDUALITY and how to

produce it, I have inserted in this section a number of drafts pertaining to individual garments, as

stated in the introduction. »

INDIVIDUALITY can best be expressed by variations in the style of a garment, as, an individual

lapel or a certain shoulder, or a particular shape of collar, or the line or curves or the corners, etc.

In the diagrams illustrating INDIVIDUALITY, it will be well to study the various lines and

curves, also the different positions of seams, dashes, vents, etc. Exaggeration is a valuable aid to

INDIVIDUALITY, as is the manipulations of patterns. The different lengths of coats, placing of

pockets, etc., all c6me within the scope of INDIVIDUALITY.

In connection with the problem of the making of individual garments, it is very essential that

special study should be given the different patterns of woolens which suit each type of man, so that

each customer will receive such cloth as suits his own personality. It should be becoming to his

complexion, and the style and weave should be appropriate to his build, height, weight, age and occu-

pation, so as to prevent, for instance, the possibility of making a suit of Scotch plaid for a man who is

only 5 feet 4 inches in height and weighs 225 pounds, or of making a small stripe or a fine silky mix-

ture for a six-footer weigliing 125 pounds.

While it is true that the customer usually selects his own cloth, it is the duty of the merchant

tailor and cutter to advise him whether his selection is right or wrong, and whether it is becoming to
him. Personal experience has demonstrated that a customer will often fancy a piece of cloth which

would be utterly unsuitable for him. Unless he is advised differently, he will, after the garment is

finished, see his mistake, and blame the tailor for an unbecoming garment. Therefore, it is advisable

to familiarize yourself with what is appropriate and becoming to various types of men in materials, as

well as in shapes and styles of garments.

In connection with the diagrams illustrating INDIVIDUALITY, study also the making of can-

vases, how to make a try-on, how to try on, and the tailoring part thoroughly, as it matters not how
good a pattern you produce nor how much style and individuality you incorporate in your patterns,

unless in addition to the fundamentals, proportions, variations, height, circumference, exaggerations,

manipulations of patterns, and lines and curves for individuality, you have enough knowledge of prac-

tical tailoring to direct your workmen so that you can obtain what you desire. If not, the result will

be unsatisfactory. See the article on "How to Instruct the Maker," and study to understand the

reasons why it is essential to make such clothes as not only please the customer, but are also a credit

to yourself.

171
Double Breasted Outing Sack Coat

Measures as Follows :

Waist length l/VS in.

Length to seat 23;J4 in.

Full length 30 in.

Breast 38 in.

Waist 34 in

Seat 39 in.

To Dracft
All systematical points obtained in regular man-
ner, subject to height, circumference, variations,
measurements and exaggeration.
The special feature jf this garment is the V
taken out in the crease line of 1J4 'n. from point
1 to point 9, giving an oval shape to the crease of
apel.
Also attention is called to the shape of the patch
pockets, position of same and shape of lapel.
Extension of button stand from front line is 4
in. all the way down.

This diagram was produced from a pattern drawn

for an actual garment, material of which was white
flannel. It was exhibited at various conventions and

pronounced a most beautiful garment.

Special study should be given to the lines and
curves and all details of this garment.
 Coat
Double Breasted Outing Sack

173
 One Button Novelty Sack Coat

^5

Measures as Follows.
Waist length 17>^ in. Breast 36 in.

Length to seat 23>^ in. Waist 32 in.

Full length 29>4 in. Seat 37 in.

To Draft
All systematical points are obtained in the regular crease line and are scooped out on the outside edge.

manner, subject to height, circumference, variations, Take out a V of 1^4 in. at point P.

measurements and exaggerations. Shape lapel and front as shown in illustration.

The difference from the regulation in this gar-

The pockets shown in this diagram are welt.
ment is as follows
Take out a V in side of front part, as shown in
From H to S is Y^ in.
illustration and stretch lower part of same and hold
From 4 to Y is % in.

in the goods at upper part of V, thereby forcing a

Shape as shown in illustration from R to S and
S to 2.
chesty effect into front.

Shape as shown in illustration from Y to X. In all other details the garment is exactly the

The lapels are long and have the oval effect on same as regulation.

174
One Button J^ovelty Sack Coat

175
 Three Button Novelty Sack Coat

Mea.s\ires a-s Follows:

Waist length l/j^ in. Waist a in.

Length to seat 2^y4 in. Seat i7 ill.

Full length 29 in. E.xcess over breast 2 sizes

Breast 36 in.

To DraLft

All systematical points are obtained in regular Take out a \^ in gorge of Ij^ in., thereby obtani-

manner, including exaggeration, and subject to height, ing oval effect of lapel.

circumference, variation and measurcnT°nts. Outside edge of lapel is 12 in. long.

The special feature of this garment is that shoul-

Notch of lapel is 2 in. and notch of collar is 1>4
der seams are raised ;)4 in. from H to S.
in.

From 4 to Y is Yx in.
Take out a V in side and stretch lower part of
Shape shoulder of back part as shown in illustra-
V as shown by dashes in illustration, and shrink in
tion from R to S.
upper part of V, thereby producing chest in the coat.
Shape shoulder of front part as shown in illus-
Shape lapel, front and bottom, as shown in illus-
tration from Y to X.
tration.
From L to is J/2 waist measure.
Re sure to study lines and curves of this garment.
Apply regular waist measure plus 3j^ in. from
3 to V and to 9.

176
Three Button Movelty Sack Coat

177
 Three Button Hovelty Sack Coat

Measures as Follows:
Waist length 17>2 in. Breast 38 in.
To seat 23^ in. Waist 34 {„'
Full length 29>^ in. Seat ...2,9 m.

To Draft
All systematical points are obtained in the regu- V is stretched and upper part is held in so as to pro-
lar manner, subject to height, circumference, varia-
(]^,(-e ^^e chesty effect.
tions, measurements and exaggeration.
Special attention should be given to the shapes
The special features of this garment are the shape
of the lapel, and welt pockets (which are made to har- and curves of lapels, front and bottom.
monize with the hollowed out lapel) ; front and bottom. Also note that a V is taken out in gorge, which
A V is taken out in the side, and lower part of produces the oval effect to the crease line of lapel.

178
 Manipulation of Front for Corpulent or Stout Figure

In sack or overcoat for corpulent or stout figures making the opening between 2 and 3 ]4, in. for every

there is always a surplus length of edge below the inch subject measures more than normal at waist. The
abdomen. This can be remedied as shown in illustra- dotted lines at side and bottom illustrate the shape of
tion by making a cut from center of armhole down to side and bottom after this operation is performed. In

pocket from 1 to 2, and another cut in pocket from 3 cutting cloth cut as per dotted lines at side and bottom

to A. Fold surplus over according to illustration at 4, and take out goods in V from 1 to 2 and 3 to 2.
 Manipulation of Sack Coat Pattern

This illustration shows how to obtain a square fit, and one at the back end of pocket and another at

effect in shoulders ; also how to obtain a chesty effect front end of pocket, as shown in illustration. Add to
from a regular pattern. Besides these it also shows spring of front part as much as is taken out in V at

how to obtain a double breasted front. back end of pocket. In making, hold the back a trifle

After having drafted pattern according to pro- full to the front part at side. Draw in the back a
portions, height, circumference, variations and meas- little before you sew in the sleeve and hold the back
urements, proceed as follows for square shoulders full to shoulder. Also, hold in the front of armhole
Raise shoulder seam of back 34 i"- Forward slightly. This will give a smooth fitting back and
front shoulder ]/?, in. and shape as per solid line, as chesty effect.
(lotted lines indicate the regularly drafted pattern. For double breasted note dash lines and have
In making, stretch the shoulder a trifle where shaded. buttons lj4 in. farther apart at chest than at waist.
This will produce the square effect of shoulders. This will further increase the chesty appearance of the
For chesty effect take out a V in side for closer garment.

ISO
 Flaring of Overcoat

This diagram explains itself,

therefore an ex- Spread the back at bottom about V/, inches and
planation would hardly be necessary.
the front about 2 inches.
Make a slash from the bottom 'of theback up to
about V/> inches above the Place this pattern upon
breast line and to arm- another paper and mark
hole.
off. and you will have an overcoat
Make that spreads well
a slash in the front part,
extending about at the bottom without changing the
Vz mches above the breast balance of the
1 line and to the armhole.
coat.

181
 Novelty Top Coat

Mea.sures as Follows:
Waist length 18 in. Waist 36 in.

Full length 34 in. Seat 41 in.

Breast 40 in. Excess circumference 4 sizes

To Dra^ft
All systematical points are obtained in regular part and the side seam of the back part together and
manner, subject to height, circumference, variations, reduce same two seams.
measurements and eyaggeration.
The armhole, shoulder, neckhole, front and bot-
The special feature of this garment is that it is
tom will present the appearance of the dotted lines.
produced without side seams.

After having drafted pattern in regular vv^ay and Cut the front and back part in one piece and the
having cut it out, paste the side seam of the front result will be a top coat without side seams.
182
J\louelty Top Coat

183
 Single Breasted Box Overcoat

Measures as Follows:
Waist length 18 in.

Length to seat 24 in.

Full length 45 in.

Breast 40 in.

Waist 36 in.

Seat 41 in.

Excess in circumference 4 sizes

To Draft
All systematical points are obtained in the regu- sleeve is attached to armhole, and its relation to the

lar manner, subject to height, circumference, varia- armhole.

tions, measurements and exaggeration. The pockets are vertical.

The special feature of this garment is the oval The sides are slightly shaped. This diagram is

efTect of lapel and hollowed out outside edge of same. placed in this volume especially for its outlines.

The dotted lines illustrate the manner in which Therefore, study the lines and shape of same.
Single Breasted Box Qvercoat

185
 Shell for Fur Coat

Measures as Follows:
Waist length 18 in. Waist 38 in.

Seat length 24 in. Seat 43 in.

Full length 48 in. Six sizes of exaggeration for circumference.

Breast 42 in.

To IDroLft
AH systematical points are obtained in the regular Add a button stand of 5 in. all the way down the

manner for exaggerated box overcoat, subject to front.

height, circumference and measurements. Shape collar and lapel as shown in illustration,
The difference is as follows: and with these few changes, including depth of scye
Make depth of scye J4 in. lower than proportions and exaggerations, you will have a good shell for a
or measures call for. fur coat.

186
Shell for Fur Coat
 Manipulation of Overcoat Pattern

This illustration shows manner of obtaining a flar- reshape side as shown by solid line. Insert a wedge
ing effect at the bottom of overcoat as well as a chesty in opening from armhole down to the pocket. This

effect of same. Having produced a pattern from reg- will give the flare at the bottom.

ular proportions, height, circumference, variations,

For chesty effect to the garment, take out a \'
measurements and exaggerations, lay patterns on the
at the front end of pocket as shown in illustration
cloth in regular manner, as the square in which the il-
and make a wedge at side wide enough to make up
lustration is placed represents the cloth. Shape around
for the V taken out in front end of pattern.
pattern, then make a cut in the cloth from armhole

down to the pocket. Plait goods from the pocket For double breasted space buttons IjX in. wider
down to the bottom to the extent you wish the coat to over chest than at waist. Remember, )'0u use an ordi-
flare. This will leave an opening from armhole down nary pattern and these manipulations are made on the
to the pocket. Lay the regular pattern on again and cloth.
Manipulation of Overcoat Pattern
 Two Button Novelty Frock Coat

r ^
Measures as Follou's:

Natural waist 17 in. Breast 38 in.

Fashionable waist 18J^ in. Waist 34 in.

Length 37>4 in. Seat 39 in.

To Draft
All systematical points are obtained in the regular one being in the waist seam and the other 5 in. above.

manner, subject to height, circumference, variations By making two slashes in the skirt and spreading

and measurements. same 2 in. each slash, a flaring effect will be given.

The special feature of this garment is the flar- Width of side body at waist is J4 waist measure

ing skirt, length of lapel and narrow side body at the minus i/i in.

waist. Note lines and curves of the different parts of

The front closes with 2 buttons and button holes. diagram.

190
Two Button Novelty Frock Coat

191
 Novelty One Button Frock Coat

Measures as Follows:
Natural waist 1 7 in. Breast 36 in.

Fashionable waist 183^ in. Waist 32 in.

Full length 38 in. Seat 37 in.

To Draft
All systematical points are obtained in the regular Width of side body at waist is 34 waist measure
manner, subject to height, circumference, variations minus ^ in.

and measurements. A V is taken out in front part to produce a

The special features of this garment are the low chesty effect.

opening and long oval lapel with scooped out effect on The run of the front will allow vest to be shown
outside edge of same and pockets at side which are when finished.

finished with a welt. In other details the diagram explains itself.

X92
Novelty One Button Frock Coat

193
 Three Button Alooelty Frock Coat

Measures as Follows:
Natural waist . 1/ in. Breast 38 in.

Fashionable waist 18>4 in. Waist 34 in

Full length 39 in. Seat 40 in

To Draft
All systematical points are obtained in regular The side body is narrow, obtained by % waist

manner, subject to height, circumference, variations, !>ieasure minus y^ in. Special attention should be

measurements and exaggeration. The special feature given to the run of the front, as well as that of the

of this garment is the chesty effect produced from bottom, also shape of flaps. See they are hollowed

two Vs being taken out the front part from waist out as shown in illustration so as to conform with the
seam up, as shown in illustration. hollowed out lapel. The breast pocket, vi'hile placed

The long oval lapel is obtained by taking out a on slant, also has the same oval shape so as to con-

V of 1J4 in. in gorge. form with lapel.

Take out a V at front end of flaj) of ^j, in. and Too much study cannot be given to the lines,

take out Yz in. V on side of front part running up shapes and curves of the various parts of a garment

from waist seam. of this kind.

191
Three Button Movelty Frock Coat

195
 Double Breasted Novelty Frock Coat

Measures as Follows:
Natural waist 17 in. Breast 38 in.

Fashionable waist 18>^ in. Waist 34 in.

Full length 43 in. Seat 39 in.

To Draft
All systematical points are obtained in regular The illustration shows flat braided edges and lap-

manner, subject to height, circumference, variations, els are silk faced to notch.

and measurements, as shown in system. The front closes with 2 buttons and there are two
The special feature of this garment is the narrow button holes on lapel.

side body, the width of which is ^ of waist measure Width of lapel at bottom is 2j/2 in. and where the
minus ^ in. top button hole is placed it is 3^-2 in. wide.

The special width of skirt is obtained by using Special attention should be paid to the lines and

14, seat measure from U to 17 and hollowing top of curves of this draft.

skirt seam.
Double Breasted Novelty Frock Coat

197
 Novelty Full Dress Coat

Measures as Follows:
Natural waist 17 in. Breast 36 in.

Fashionable waist 18 1^ in. Waist 32 in.

Full length 41 in. Seat 37 in.

To Draft
All systematical ])oints are obtained in the same so as to obtain slickness in side and length in front

manner as for regular full dress coat, subject to height, part, for seam necessary to join front part and skirt.

circumference, variations and measurements. Side body is narrow, and obtained by 34 waist

measure minus -y^ in.

The special feature of this garment is that front
Shape lapel, front and front of skirt as shown in
and skirt are cut in one piece, consequently there is no
illustration.
strap or lapel seam.
In the reproduction of this kind of coat it would
A V of 3 in. is taken out in crease line of lapel
be well to have the collar and lapels faced to the edge
and another V is taken out in front part at point 10
with silk.

also one in skirt. ( See point 10). Special study should be given to the lines and

Stretch V in front part where shaded at point 10 curves of this diagram.

198
J\lovelty Full Dress Coat

199
 Novelty Double Breasted }iewmarket Coat
Measures as Follows:
Natural waist 17 in. Breast 40 in.

Fashionable waist 19 in. Waist 36 in.

Full length 49 in. Seat 41 in.

Excess 3 sizes over chest.

To Draft
AH systematical points are obtained in the usual from L to O. ( See distance between squared down

manner. line and front line at W.j

This draft may be subjected to height and meas- Also, take out another V in side of front part, as

urements according to system. shown by illustration.

The difference between this coat and regfular New-

The lapel is M/i in. wide at chest and 2j/2 in. at

market is as follows
waist.
No seam in middle of back.
From P to 26 is 2^ in.
Width of back from V to 8 is j5/^ breast measure.
Shape lapel and front as shown by illustration.
Width of side body is Y\ waist measure minus

% inch. The front part and skirt are cut in one piece at

N to W is 1/6 breast measure plus li/. in. front. After laying up regular skirt make four

The V taken out at button stand is the same slashes in same as per dotted lines and spread each

amount as the difference between the squared down slash 2 in.

line and the line obtained by applying waist measure In all other details the diagram explains itself.

200
Movelty Double Breasted Newmarket Coat

J -L. s_

201
 Collars and Lapels
Different Styles of Makeup of Sleeves
 Collars
and
Lapels
Different Styles
of Makeup
of Sleeves

203
 Flaring of Skirt

The dotted line indicates a normal skirt front. To

obtain a full flare at the bottom without changing the

balance of the skirt, make four slashes in a proportion-

ate skirt and spread the same as much as you wish at

the bottom. (Two inches in each slash will give a

good full skirt.) Place this upon another paper and
mark oflf and you will obtain the desired result. Skirts

to all frock coats should be treated in this manner

when a proportionate skirt is not desired.

204
 Vests

SHOWING NOVEL DESIGNS IN REGULAR

AND FANCY VESTS

205
 Novelty Vest

The above draft illustrates a single breasted three-button novelty vest.

Measures as Follows:
Waist length 17 in. Opening 16 in.

Breast 36 in. Full length 26>4 in.

Waist i2 in. Length to side 22 in.

To Draft
AH systematical points are obtained in regular Special attention should be given to placing the

manner, subject to height, circumference, variations pockets as shown in illustration.

and measurements. This diagram has been specially inserted with the
view of showing a pattern of vest front suitable for
The special feature of this vest is the shaping of
fancy material, such as brocaded velvet or novelties,
the opening, front and bottom.
and while the edges in this instance are braided, it is

There is only one pocket at each side and these not necessary to have them so, provided the ma-
pockets have flaps. terial would make up a good edge without braiding.

206
 Double Breasted Vest

Measures as Follows:
Waist length 17 in. Opening 15 in.

Breast 36 in. Full length 26 in.

Waist 32 in. Length to side 22 in.

To Dra.ft
All systematical points are obtained in the regu- The buttons are 7 in. apart at top and i]^ in.

lar manner, subject to height, circumference, variations apart at bottom.

and measurements. In connection with this diagram it is well to note

illustration of manipulation of front part of double
The special feature of this vest is the shaping of
breasted vest, as by cutting a V close to button stand
the lapels and width of button stand.
and reducing length at opening, as shown in illustra-

It will be noted that the crease line of opening tion, it is possible to obtain not only a chestv efifect, but
is produced with oval effect and the outside edge ot also a closer opening without the aid of too much hold-
lapel is absolutely straight. ing in with the stay tape. .
•

207
 Single Breasted Novelty Vest

Measures as Follo\vs:

Waist length 17 in. Opening ".

14 in.

g j.g^g^ 36 in. Full length 26 in.

yy^jjgj. 32 in. Length to side 22 in.

To DraLft
All systematical points are obtained in the regular The front has one pocket on each side with flaps.

manner, subject to height, circumference, variations A V is taken out in the front part from the bot-

and measurements. tom up so as to produce a chesty effect.

The special feature of this vest is that the opening By careful study of this diagram and noting the

is produced with a turn down lapel and standing col- way the opening is made the student will be able

lar. to produce this novelty vest.

 Motch Collar Novelty Vest

Measures as Follows:
Waist length 17 in. Opening 16 in.

Breast 36 in. Full length 26>4 in.

Waist 32 in. Length to side 22 in.

To Draft
All systematical points are obtained in the regular Flaps shaped as shown in illustration.
manner, subject to height, circumference, variation A V is taken out in front part so as to give
and measurement. smoothness to the waist and a chesty effect.
The special feature of this vest is the artistic
Special attention should be given to the oval ef-
shape of collar, front and bottom of front part.
fect of opening, shape of collar, front and bottom, as
This vest front closes with four buttons and but-
ton holes, and has one pocket on each side of front effects and lines of this character should be used by

part. all good and artistic tailors.

2oy
 Full Dress Vest

Measures as Follows:
Waist length 17 in. Opening 21 in.

Breast 36 in. I'\ill length 26y2 in.

Waist 32 in. Length to side 22 in.

To Dra^ft
All systematical points are obtained in regular vest, and the V in front part taken out which gives

manner, subject height, circumference, variations

smoothness to the waist and the chesty effect.
to
Particularly note shape of opening, collar, cor-
and measurements.
ners and bottom of front part, as graceful lines of
The special feature of this vest is that it illus-
this kind may be incorporated in the production of
trates a V-shaped opening, the long points at front of noveltv vests.

210
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 Cloth Cutting
While the systems published are numerous, the authors seem to forget that besides the production

of patterns there is another important part of tailoring, viz. : Lay-outs and cloth cutting. Much time

and material has been wasted in gaining this knowledge, and realizing this fact, the author of this

volume therefore places before the student a few layouts so as to give him a good start in cloth cut-

ting, as well as in the placing of outlets, pockets, buttons, etc., as shown in illustrations of layouts. In

this connection we have also illustrated the necessary fittings, such as facings, flaps, facings for pockets,

collars, etc. Careful study of the illustrations and trials from regular patterns on cloth will be found

not only a great saving of labor, but of great practical value to the student.

213
215
 Lays for Trousers

l.PiY FOR TROUSERS LAY FOR STOUT MEN'S TROUSERS

Seat, 40 in.; 32 in. inseam. Amount of material required, (Back Part Reversed.)
114 yards, 55 in. wide. Fold, out. Seat, 45 in; 32 in. inseam. Amount of material required,
Xy^ yards, 55 in. wide. Fold, out.
 Lays for Vests

LAY FOR DOUBLE BREASTED VEST LAY FOR NOTCH COLLAR VEST
Breast, 38 in. Amount of material required, Vi yard, single Breast, 38 in. Amount of material required,% yard, single
width, doubled over. Fold, in. width, doubled over. Fold, in.
 Fittings
For Coats, Vests, Trousers and Overcoats

The diagrams in this section illustrate the fittings necessary for Coats, Vests and Trousers, such as front

facing, pocket facing, welts, flaps, and necessary outlets.

FITTINGS FOR SACK COAT. FITTINGS FOR OVERCOAT

While the undercollar is illustrated, it is customary to cut it from special undercollar cloth. In all other

details the diagrams explain themselves.

218
 Fittings for Frock Coat, Vests and Trousers

BACK PART OF VEST FRONT PART OF VEST

FRONT PART OF FROCK COAT

TROUSERS
219
PRACTICAL TAILORING SECTION
INCLUDING

How to Make a Try-on

How to Try-on
How to Instruct the Maker
How to Make Coats^ Vests
and Trousers

221
 Practical Tailoring
There is only one kind of tailoring which can be recognized, and that is the kind which makes

it pleasant in an establishment ; the kind that is appreciated by persons of good taste and wearers of

good clothes ; the kind that causes a new customer when he puts on his suit to make up his mind not to

go elsewhere in the future for his clothes, and to willingly pay the price asked, because he is satisfied

that he has received full value for his money and the best of everything that makes up an ideal garment,

material, style, symmetry, fit and the best possible make.

To my idea a good tailor is as much an artist as the cutter. It is not his sewing alone that pro-

duces the smoothness, beauty and effect so much desired ; it is his artistic skill.

I am aware of the fact that there is another kind of tailoring, but that I could not possibly rec-

ommend. Undoubtedly you have heard of it. It is the kind that makes the cutter feel the chills creep down

his back when the garment is brought to him ; it is the kind that creates argument between the customer

and the producer. In establishments that handle this grade of work there are always misfits for sale.

This class of tailoring is detrimental to the trade and the merchant who deals in it may be ranked

among the money sharks. The bargain-hunting customer will soon find that he has paid from seventy-

five to one hundred per cent profit to a man who does transient tailoring business, while the high-priced

dealer charges only from thirty-three and one-third to forty per cent profit. By showing your customer
these comparisons he will clearly see that by paying more for a suit, he is a gainer both in a financial

and practical way.

These e.xplanations I find necessary in order that I may be clearly understood in my attempt to

illustrate and explain the manner in which I used to make coats, vests and trousers, and at the same

time how I am having them made now.

First, in cutting the patterns they should be carefull}' prepared. The principles applied should

be those of proportions, variations and direct measures, and exaggerations and manipulations of pat-

tern should be incorporated when necessary. The height of the subject should be given consideration so

as to stipulate the exaggeration and to obtain the proper depth and proportionate length, etc. In other

words, the cutter should not only apply his technical knowledge and ability, but also analyze his measures,

inasmuch as some of them are useless and others may have been taken incorrectly or carelessly ; in fact,

patterns must be carefully prepared under all circumstances.

Before laying the pattern on the cloth, be sure that the cloth has been properly shrunk. Notice

that the lay of the pattern conforms with the run of the grain of the cloth. Be sure that the lay is sat-

isfactory from an economical as well as practical point of view. Allow the regulation outlets. See that

the chalk is well sharpened, so that in chalking around the pattern you obtain good and clean lines.

Carefully mark your pockets, placing of buttons, etc. Then chop out. After having trimmed the suit in

the proper manner and wrapped it up in the canvas, tie it up with a stay tape and attach the maker's

ticket and the cutter is then ready for the next.

223
 Hotv to Make a Try On
Having finished putting in the thread marks in the different ])arts of the coat, such as outlets,
pockets, button stands, etc., proceed to cut the canvas. It is understood that the canvas should be
thoroughly shrunk before cutting and it should be cut so that the threads will run straight with the front,
to give steadiness to the front of the coat. It is well to bear in mind that the canvas is the foundation of
the garment and the tailor cannot be too careful in preparing it.

Having cut the canvas according to regulation, make a cut in shoulder as illustrated by point D,

diagram 1. Take out the V as in same illustration at point B. Place the straight edge from the shoul-
der point down to center of chest. Place point C one inch below the scye depth. Measure down seven inches
for the average size and take out % of an inch opening at angle and the same amount at point A, bear-
ing in niiiiil that the straight line should always run with the front. Now you are readv to join the
opening by placing a strip of stay linen on under side and cross stitch over edge to edge. Insert a V of
3-4 in. at point D and sew up same as shown in illustration. Sew up the V taken out at point B by placing a
piece of linen on the under side and cross stitch from edge to edge, as shown in illustration on diagram 2.

Next prepare the hair cloth as indicated in diagram 2. Have the horsehair run straight across the
shoulder: make slashes in the haircloth where indicated in the illustration, and fit it on the canvas in

the shoulder, by making a cut at point E, and placing another piece of haircloth, with the horsehair
running up and down, at same point, thereby making a spring to the shoulder, as shown in illustra-

tion. Cover the edges of the haircloth with silesia, or some thin material, and be sure that the hair-
cloth and canvas harmonize in the shoulders.
Ne.xt in order examine diagram 3, which shows the canvas com]:)leted, the haircloth having been
covered with one sheet of wadding in the shoulder and over the chest, and this then covered with
flannel. Padding is too thick and does not work so well. Then pad the canvas as indicated in diagram
.3. Do not pad too close, nor take too long stitches, as one way would be as bad as the other. If i>adde<l

too close it would make the canvas and breast too stiff, and would not produce fhe smooth effect desired.

Therefore, do not pad too close nor pull the stitches too hard.
Next, press the canvas thoroughly into shape ; also press the fore part of the coat into shape. Stretch
the shoulder a trifle at the place where the V is inserted in the canvas, or point D, and give a slight
stretch to the neckhole near the shoulder point. Press in the breast of the coat and press the coat over
thoroughly, and be sure the edges are inclined to be short all around the front and the bottom. Press in the

armhole slightly at front of scye. Be sure the canvas and front part are so shaped in pressing as to
conform with each other.

Before going further I will say that I prefer to have the pockets put in a sack coat or overcoat
before try-on. I am aware of the fact that it is not practiced to a great extent for the reason that in

many cases the tailor is given no time to put in the pockets. In many tailoring establishments there are
special try-on men, consequently the regular coaimaker does not make the try-on. Still another rea-
son is that some cutters are afraid of misplacing the pockets for fear that in try-on they would have
alterations that would misplace them. While admitting that with a cutter who takes careless measures
and is not in the habit of paying attention to details of the customer, difificulties of this kind would arise,
I am of the opinion that a careful cutter who knows how to produce jiatterns properly, including the way
of placing the pockets, will be far more successful by having his pockets in for try-on, because the canvas
is then basted under the front for good. On the other hand, if the pockets are not put in before the
try-on, the canvas is generally torn away from the front part and the front part pressed over separate
from the canvas and nine times out of ten the cloth is stretched more or less in different directions. When
the canvas is basted under for the second time, the front part and canvas do not harmonize. Many
tailors do not seem to think is necessary that the cloth and canvas should harmonize and that it must be
224
Canvas for Coat
DIAGRAM 1.

225
 DIAGRAM 2. DIAGRAM 3.

exactly as it was when tried on, in order to procure good results. Extraordinary care should be taken
to be sure that the front part and canvas harmonize, as it is a well-known fact that the canvas leads
the cloth. Therefore, the front part and canvas must be in absolute harmony, for if they did not har-
monize it would dislocate the shoulder and throw the coat out of balance. It would make no difference
how good patterns a cutter produces or how carefully the coat has been tried on.
Therefore, for the above reasons I favor having the pockets put in and the canvas basted under
for good before the garment is tried on.

In starting to make pockets, see that they are put in the right place and of the proper size, and

carefully mark the same. Next proceed to mark out the flaps to correspond with the length and width of
the pocket. Cut cmt the flaps, allowing sufficient for seams all around. Now turn the right side of the

goods toward the lining and in basting the lining under the flaps see that it is rather snug, especially in

the corners. Particular care should be exercised in this respect. Next sew around the flaps. Turn them
and carefully baste around their edges. Stitch around the first row before pressing and if double

stitched, stitch the second row after pressing. Having completed and pressed the flaps, mark from the

wrong side the width desired. Next baste a strip of stay on the wrong side of the front part where the

pockets are to be placed. Baste a strip of goods, well-stayed, to the right side of the lower part of the

pocket and baste the flap to the upper part. Then sew through the flap as well as the stayed strip, as

shown in diagram A. Next examine diagram B. which shows the staying of the pocket from the wrong

/7/aj». a.

Di^o-D.
^
side, also where the pocket has been cut open between the two rows of stitching, leaving a seam on

each side and illustrates the manner in which the ends of the pockets should be cut in order to obtain

a turn for the finish. Next press out the seam of the lower part of the pocket and press down the flap.

Then turn the stayed strip of goods over and mark the semi-welt the same width as you intend to stitch

the edges of the coat. Turn and stitch same as shown in diagram C. Face the under side of the pocket

which now appears on the lower part on diagram C, with a piece of lining and baste same to the upper part,

covering up the flap. Baste a stay from the back end of the pocket up to the armhole. Stitch through the

upper part. Make the pocket the desired depth. See diagram D, pocket completed.

For regulation welt pocket, first make your welt properly. Mark off the width of same. Sew
it to the front part and press out the seam. In details this pocket is made very much like the one in the

foregoing explanation, less the flap. Press the pockets thoroughly and see that you have everything
smooth and get ready to baste the canvas under. Lay
Place the canvas right before you on the bench.
the front part over the same. Be sure and the canvas harmonize in every detail. Then
that the front part
start to baste, as indicated in diagram E, from 1 to 2, 1 to 3, 3 to 4, 4 to 2, 6 to 7 and 7 to 2. See that your
front part is good and smooth over the canvas in the shoulder, having the canvas rather full under the front
part between 1 and 2, 1 and 3, 3 and 4, 4 and 2 and 6 and 7, and push the goods back a little from the
edge from 7 to 2, so as to give the front edge a tendency to turn in. Next turn the ends of your pocket
and tack same, and in tacking your pocket, do so with accuracy and be sure to have the same good and
clean, as well as firm, so that it can withstand the strain. The canvas is then basted under and the pocket
presents a complete appearance. Diagram F illustrates the canvas from the wrong side after it is
basted under the front part, as well as the pocket completed, and the stay from the pocket to the arm-
hole and front end of pocket tacked to the canvas. The diagram explains itself.
Next baste your side seams together. Hold your back a trifle full to the front part just below the
armhole. Baste together the back seam even all the way down. Turn all seams and rebaste them. Press

the seams, also the front parts and turn in the edges all around. Baste your shoulder seams together and
give the back about ^ in. fullness.
Use special under collar cloth for the collar. The canvas for the collar should be cut so that it
runs with the thread in the front of collar and on the bias in the back. The collar should not be stretched
much; hardly anything on the outside, but stretch it some on the inside, so as to conform with the stand.
Then crease it over. In basting on the collar, see that you hold it good and full near the shoulder seam
on the front part, and rather short in the gorge and even in the back.
Baste up your sleeves. Se sure that they do not twist in any way and in basting them into the arm-
hole, see that they are properly placed and have the proper amount of fullness.
Give the whole coat a good smoothing over with the press iron. Trim off uneven outlets, canvas or
anything that does not look clean and your coat is ready for try-on. Remember that unless the try-on
has been properly prepared, it is practically of no value, as the defects of the garment can only be traced
in a coat that is properly basted.
228
 Hotv to Try On
Before going into the details of how to try on, I will first direct your attention to the fact that be-

side being a good try-on man and draper of garments, it is very essential to understand how to handle
the customer at the time of the try-on, inasmuch as the try-on is a most important and very trying ordeal.
It is advisable that in trying on a garment you do it without the assistance of anybody else. Most
customers have a decided objection to more than one person trying on a garment. Apart from the truism
"that too many cooks spoil the broth," it certainly acts as a detriment to the cutter in obtaining the cus-

tomer's confidence in his ability as a cutter and fitter. The result is that often after a garment has been
completed and sent home, it is returned to the firm with the words, "the garment is not altogether what I

expected." You wonder why it is sent back. You look the garment over carefully and you cannot detect
any material defects. You send word to the customer, asking him to call, so that you may slip on the
garment. The customer calls. You inspect the garment and find it to be good. In fact, as good a gar-
ment as you anticipated when you tried it on, but the customer does not seem to think so. He asks
questions about this or that. He seems to hesitate as to whether you are telling him the truth when you
say that the garment is all right and he seems to doubt your judgment. The fact is these difficulties orig-

inated because you did not try on the garment alone. There was someone else connected with the estab-
lishment present when the garment was tried on, who no doubt made some suggestions to you as to the
fit and style of the garment, and the customer simply took it for granted that you were incapable and

must have some one to direct you in order to produce the proper style, etc. I mention this inasmuch as

I am personally acquainted with merchant tailors, managers and salesmen who are very desirous of im-
pressing the customer with their broad experiences in the trade as well as their ability as creators of
style. But these impressions generally prove a financial loss to the firm and in many instances these in-
truders display rather their want of knowledge, practical experience and fitness as creators.
When trying on a garment the cutter should under all circumstances maintain a calm and collected
demeanor, and by all means listen to the customer's requirements in a respectful manner, showing by intel-

ligent inquiries that his sole aim is to please. Overcome any semblance of nervousness, for should the
customer notice that you are nervous, he will lose faith in you at once.

Before slipping the basted garment on the customer contrive that he does not stand in front of the
mirror, for if the customer sees himself he generally assumes an attitude different from his usual one.

For this reason I would advise you to select a certain place where you can slip on the garment and give it

a preliminary examination. This place should be so arranged that the customer will be confronted with
something which will attract his attention, a pretty picture or anything that will occupy his mind while
you are making your inspection. I will call his attention to this, saying, "How do you like this prettv
picture here?" etc. By drawing the customer's attention to this attraction he will momentarily forget
all about the try-on and his interests will be centered elsewhere. He w'ill assume his regular position
and attitude, and it will then be possible for you to give the garment a thorough inspection as well as

draping.
First, be sure the garment is placed in proper position, as it is from want of this one-half of the
difficulties may be traced. Turn to the front, pin it together and be sure to notice that both sides are
being fitted alike.

Notice the length and width and hang of the sleeve. Make necessary markings for alterations

and rip out your sleeve.

Place your hands under the arms of the customer, thereby ascertaining whether the armhole is too
deep or too shallow, or if it has the proper depth, and proceed in a methodical manner to inspect the gen-
eral defects of the garment.
Smooth your hand across the shoulder and see if your back balance from the back of neck to the
bottom of scye is correct. Then pass on to the front and observe the fit from the shoulder. Does the
229
garment balance correctly? If not, unrip the collar, turn to the back, arrange a perfect balance, and

place a pin at the back of neck.

Next open the right shoulder and pin it together so that you obtain the proper balance front and

back. Turn to the left shoulder and perform the same operation. Next pass again to the back and no-

tice what effect this changing of shoulder had on the waist and seat. See that you have made proper

provision for the hips. Notice the run of the side seams and that the garment is properly fitted over the

blades. Observe the tit of the back of armhple and see that it is in harmony with the curve of the back.

Notice the position of neck point and pin the collar on to the garment in such a way that you obtain the

proper height, length and run. Next mark the shoulder seams and neck hole. Carefully inspect the arm-

hole, also mark the same. See that any change you may make is in harmony with all other points. Then
mark the front of the garment.

At this point I would politely request the customer to step before the mirror and when there would
inquire if he wishes to make any suggestions, regarding either style or fit. In deciding such matters with

the customer, be sure that he does not lead you on to make alterations such as would change the balance
or spoil the garment, but at the same time defer to his opinion.

Ne.xt unpin and take off the garment. Show the customer courtesy by helping him to redress and in

parting bid him a friendly "good-day."

As soon as you can find time after the customer has gone be sure to re-mark the different alterations.

Too much care cannot be exercised in this respect. It is well to remember that "Nature in her productions

slow aspires by just degrees to reach perfection's height." and it is the smaller details that count in a well

fitting as well as stylish garment.

230
 Hoiv to Instruct the Maker
Having under the head of "Making of Try-On," and also "How to Try On," dwelt upon the neces-

sity of handling the customer so that you beget confidence and respect in him, I will now make an at-

tempt to explain how I instruct the maker of the garment and I take this opportunity to impress upon the

mind of the student that to obtain good results in the end there must exist a perfect understanding

between the cutter and the journeyman tailor, as to the making of each individual garment, as well as

to the absolute necessity that good feeling between these two individuals should exist. Unless there is

harmony between the cutter and the journeyman tailor the productions of this combination would be

unharmonious and deficient in style and probably also in quality. Let me, therefore, suggest to the cutter

that he select such jours, to do his work are are in harmony with his own ideas and teachings. I say teach-

ings, for the reason that it is necessary to instruct the tailor as to particulars of each garment. Remem-
ber that your customer has his clothes made to order chiefly for the reason that he may get the small

details attended to in a most careful manner, as well as to obtain clothes that are suitable for his par-

ticular build and up-to-date style. In view of these facts, it is necessarv that the cutter and tailor should

not only be friends, but should also recognize and respect each other for the mechanical qualifications

possessed by them as individuals, as well as for positions occupied by them in their respective branches

of sartorialism. Further, the cutter should by all possible means endeavor to create a good feeling among
his help as well, by good, sensible, practicable instructions. Tn giving the tailor his work, let him luider-

stand that it must be executed in the manner he had instructed and that this is a matter of business, and

further impress upon him the fact that unless these details are carried out to the letter the work will not

be accepted. On the other hand, these instructions and rules should not be given in a hastv or impatient

manner, but in a way calculated to give the proper impression and have the desired efTect. I have seen

cutters who, after they had tried on the coat and pinned up the shoulders, omitted to take out the pins,

simply giving the tailor the coat, telling him to make it up as it was pinned and that it would be all

right. Now, this is not the way to obtain good results. The cutter then places all responsibility on the

tailor and the tailor may do the best he can, but the fact is he has no conception as to the customer's

requirements for this particular garment.

I have noted the results from such deficient handling of garments which have by no means been

satisfactory either as to fit or as to style, and have seen that these lame instructions to the tailor act

as a creator of arguments between the cutter and the tailor. The cutter will say after he has had to make
alterations that had the tailor made it as it was pinned, it certainly would have been all right ; while, on

the other hand, the tailor will say that he made it as it was pinned, but had no definite instructions as to the

making. He will add that he has done the best he could in marking it off, but in view of the fact that the

cutter did not say anything further about this or that, he made it according to the regulation that he

had learned years ago. I have seen some very good tailors quit their positions on account of this kind of

argument and because the cutter has not been careful in his instructions. It is unreasonable to expect

the tailor to know everything in detail unless he has been instructed for each particular garment.
231
 I will say right here that the cutter shoiiW unpin the i^arment, mark the alterations carefully ; in

fact, unless the cutter attends to these details, the tailor will he impressed with the lack of knowledge

displayed by him, and the truth is that the careful, practical and capable cutter always marks his altera-

tions such as shoulders, armholes, fronts, etc., carefully, where changes may be needed, and makes notes

of details as well.

Then, again, I have seen the cutter who has made his markings, etc.. tie up the garment in a bundle,

throw it intd his usual corner and probably let it lie there for a week or two. When he is ready to give

the garment out, he simply hands the bundle to the tailor without any further instructions than to tell him
to have the garment completed by a certain time.

This is also wrong in my estimation. In place of simply giving the tailor the bundle and telling

him make the garment, I would untie the bundle and with the tailor I would go over every detail of

alteration, showing him in an intelligent manner the reasons why I had made these alterations. I would
inform him of the customer's disproportions and attitude and give him comprehensive instructions as to

the style of the particular garment. The collar and the lapels should also be thoroughly delineated. I

would give the tailor a special pattern to follow in this respect. I would inform him about the length of

the collar required, how to hang the sleeves. I would instruct him whether they should hang normal, for-

ward or backward and give reasons therefor. For example, "This customer stands erect and requires a

longer collar, and have the sleeve hang backward to this or that extent," or "Mr Jones stoops quite a bit

and see to it that the collar is not too long and that the sleeves are brought forward so and so much."

"Move the back up so and so much as to avoid this or that, or move the back down so or so much," and

give reasons therefor. "Further, take out the front of armhole so and so much and add so and so much to

the width of back," and give reasons therefor. "See about and crook the shoulder so or so much," and

state why you do so. Further, I do this or that for creating this or that effect. In moving your collar up
or down state reason for same, so and so much fullness is necessary there or there, and give reasons why
this is done, or do this or that so as to create a square shoulder effect, or do this or that so as to obtain

the oval lapel.

Further follow this line here (indicating) for your front, place your buttons so or so. In fact,

familiarize your tailors with all the details necessary in order to obtain a well balanced, fitting and stylish

garment, and be sure that they understand you in every detail. If you think the tailor is forgetful write

down the directions on an extra slip of paper, pin it to your measure ticket and impress upon his mind not
to forget anything. Tell him that the garment must be well made, finished, and have the style you
stipulated. Then state your time when the garment must be completed and let him understand that it is

necessary that he shall have it completed and brought to you for an examination by that time. After

having told him of all these details give him a few cheerful words, something that will display your con-

geniality and sympathy, and bid him good-bye. Remember that you must be friendly to your tailors and

at the same time you must handle them so that they will respect you.

232
 Coat Making
Upon getting the coat back from try-on the tailor should thoroughly examine the details of instruc-
tions received from the cutter, smooth out the various parts of the garment and proceed to put in new
threadmarks where alterations have been marked. In sewing up the seams, instructions as to fullness, etc.,
should be followed to the Having sewed up the side seams and padded your lapels, press the front
letter.

into shape and re-mark the front as previously marked by the cutter. Lay on the lapel pattern given you
by the cutter and mark around it carefully, then cut away all unnecessary material. Trim away your
canvas 34 in- from the edges. Next fit out your facing and lining. Sew on the lining to the facing and
put in your inside breast pocket. Having completed the linings, baste on stay tape around the front.
Be sure that you hold it sufficiently short, but not too much, as one way is as bad as the other. After
having felled down
the stay tape on both sides, press over the fronts thoroughly. Also press the facing,
inside breast pocket and lining and have the facing and lining so arranged that it harmonizes with the
front part. Next lay the lining on the bench wrong side down. Lay the front part above same with
the right side to the lining and baste as indicated in diagram G. See that you have the facing sufficiently
long, but not too long. Baste so that the lower corner will turn inward, and in basting around the lapel
be sure that there is sufficient fullness on the facing side. Then press from facing side, so that it will be
smooth. Mark with the chalk the front edge where you are to sew. Next sew around the edge where
marked.

Next seam of edge thoroughly; trim seam down to yi in. on each side. Then turn
press out the
the edge and baste down. In basting down be sure to hold the seam even in the middle of the edge,
it

so that in stitching you are sure to catch both sides. See edge as illustrated in diagram H. Next,
provide for sufficient fullness of lapel. Attach your inside breast pocket to canvas. Baste from the
wrong side of the lining where the lining is sewed to the facing, and attach this seam to the canvas.
Next baste the lining under in such a way that it will have sufficient length and width. Sew the seam in
the middle of the back and press seam out. Turn up the bottom and stitch the first row of stitching
around the edge then press edge thoroughly before stitching the second row. Having finished stitching the
;

edges, take out the basting around them and press the edge thoroughly. Baste in the back lining and be
sure it is long enough, but not too long, and allow a pleat in center seam. Should the lining be shorter or
even in length with the goods, you will find there will be wrinkles on the outside therefore, the lining ;

should average Y^ inch in excess of the outside goods. Having completed the basting under of the lining
and turning in at the side seams, turn up the bottom of the lining in such a way that you can fell it Yz in.
beneath the turn. Diagram I illustrates the way a garment should look after the lining has been basted
under and the extra length required in comparison with the outside goods. Now make preparation for
the bottonholes by noting that they are in the proper place, and in cutting them be particular that they
are of the proper length, as a small button hole looks bad, and besides it is hard to button and wears out
more quickly. They should not be too large, but they should be sufficiently large to permit of being
buttoned without too much effort, and and wrinkles around them when
this will also eliminate the fullness
buttoned. In making buttonholes the tailor should exercise a great deal of care so as to make them
soft and even. There are many good tailors who are not able to make good buttonholes. I have seen
beautifully made garments spoiled by poor buttonholes, and I must say that good buttonhole makers are
rare. The general fault in buttonholes seems to be that the makers put in too many stitches. It seems as
if they were anxious to show the amount of work they had done on them. The fact is that when the
stitches are too close it makes the buttonhole hard, and in consequence it wears out much sooner. If it
had been worked with a moderate number of stitches in the proper direction and with the right kind of
silk, an even looking buttonhole would have been produced and the softness given so essential for wear.

The secret of a good buttonhole cannot be explained in writing or by illustration it must be explained ;

and demonstrated in actual practice.

Having completed the buttonholes in the best possible manner, re-mark the shoulders and baste them
together. This is a very particular part of the work because it must be done exactly according to the
directions given by the cutter so as to correspond with the alterations made in the try-on. At this stage

of the making it may be well to take into consideration a second try-on. While I personally seldom have
a second try-on, I you have any doubt as to the fitting
will say to the students of Practical Tailoring, if
points and balance of a garment, would advise a second try-on to avoid busheling. Therefore, after having
I

basted the shoulders together and basted the seams over, arrange the canvas, lining, etc., so they are
smooth and even in the shoulder re-mark the line where it should be basted to the collar press collar
;
;

into shape and baste it on. If I intended to have a second try-on I would baste in the sleeve as a reassur-
ance that I had the right length and width in every particular. In preparing for a second try-on, I would
pull out as many basting threads as are not absolutely necessary to hold the garment together. I would
press the edges all around, smooth the lining and trim out any excess there might be in armholes, etc.,
and show up the garment in the best possible shape. See diagram J.
In trying on the garment the second time I would carefully inspect every detail in the same manner
as in the first try-on, and if necessary I would redrape the shoulders. While a second try-on would

indicate inexperience on the part of the cutter, at the would show that he was careful, and
same time it

often a second try-on saves a great deal of busheling. a garment has been tried on twice at
In fact, if

the proper times, and properly handled, there should seldom be any occasion for busheling after com-
pletion. After receiving the garment back from the second try-on and having received proper instruc-
tions from the cutter, 'promptly note alterations, if any. Then again baste the shoulder together with
the same care so that you have the fullness in the proper place according to the cutter's directions, and
—
sew the shoulder seam by hand a machine-sewed shoulder is never so satisfactory as a hand-sewed one,
for the reason that the machine will stretch some and displace the fullness of the back. A hand-sewed
shoulder will hold the seam short, as well as enable you to have the fullness properly placed. All good
tailors sew the shoulder seam by haiiil. Next, press the seams out, and prepare to rearrange the canvas

2.34
in the shoulder. In doing this be sure the canvas is sufficiently long and wide and that it will harmonize
with the cloth in every respect. Next same manner. Be sure to notice that
arrange the lining in the

neither canvas nor lining interferes with the outside goods in any way. Baste around the neckhole close to
the line where the collar is to be attached. Give the shoulder and neckhole a thorough pressing; also
re-press crease line of under collar into shape; test shape of same to neckhole; then re-mark line to which
collar is to be basted.
In basting on collar I would start at the back, basting toward the front of the left side of the coat,

giving Ss inch fulness to the collar on the front part from the shoulder seam to the crease line, and hold
the collar slightly short to the lapel from the crease line to the gorge. If the left side is satisfactory,

back of the neck and baste the collar to the right side, leaving the same amount of fulness, etc.,
start at the
as on the left side. Next, fell the collar down neatly also fell the inside edge to the collar take out the
; ;

bastings and arrange collar and lapel on the pressing block in a way to give them a thorough shaping
and pressing with the iron. Next mark off the width, etc., of the collar according to the pattern furnished
by the cutter or the prevailing style. See diagram J.
In putting on the top. collar be sure that it has been shaped so as to conform with the under collar. In

basting it on notice that it fits the crease, and that there is a certain amount of fulness, especially at the

DIAG. I.

front end. Be positive that you have a turn of Y\ inch. After having felled the outside edge of the
under collar to that of the turn of the top collar, stitch the first row before pressing. Also press the
crease of the collar and then stitch the second row.
In making the sleeves, see that they are of the proper width so as to conform with the armhole an ;

average fulness of 2^4 inches should be allowed. For example: If the armhole measures 18 inches,
the sleeve should measure 20-;4 inches, and be larger or smaller in comparison with the arm scye. In
marking them off be sure they are of the proper width at the bottom, as well as over the elbow. Pre-
pare and produce the cuff desired, and in seaming up the sleeve be sure it does not twist in any way. Also
be sure that the sleeve lining conforms with the sleeve before seaming up. Having finished them ac-
cording to regulations and instructions from the cutter, give the sleeves a thorough pressing oflf. Next
carefully inspect the top of the sleeve, trim off any unevenness, if any, and give the sleeve lining ^
excess at the top as allowance for turn, which turn should also be basted down before fitting the sleeve
to the armhole. Having properly finished the sleeve, re-mark the armhole and draw in the back of
the armhole with linen thread; also draw in the front of scye a little with linen thread before basting
in the sleeve.

235
 In basting the sleeve to the armhole, start with the right sleeve at the front of the armhole. See
that the notches meet and baste toward the back, giving about }i inch fulness to the under sleeve at the

back of the armhole. At no place should the sleeve be held tight to the armhole. Hold it easy around
the shoulder seams and give about lyi inch fulness from about 2^ inches to the front of the shoulder
seams and down the front of scye. Now, if the right sleeve hangs properly, baste in the left sleeve
in the same manner, and seam them in by hand. Press out the seam and place a little wadding in the
shoulder and let it run down a bit in the sleeve. It is also well to leave the seam loose at the top of

the shoulder. That is to say, do not fasten canvas from the shoulder seam to about 3 inches
it to the

above the front of scye. Finish armhole by felling the sleeve lining in carefully, and the coat is then
ready to press off.

In pressing off I have found it a good way to start with the shoulders, next the body of the coat,
then the edges and linings, leaving the collar and lapels to the last. Be sure the coat is thoroughly

DIAG. J.

pressed and sponged, and in sewing on the buttons have them sewed on so they have a neck of %
inch. Before bringing the garment in for the cutter's examination, give it a good preliminary in-
spection. First: —
See that the sleeves balance and have the proper fulness, and that the collar and
lapels have the proper shape according to the style. Second: -View the sleeves from the back and —
see that they fall gracefully, and also notice the general appearance of the back. Third: View the —
shape of the collar by holding the coat up by the shoulders with both hands. Fourth Inspect the lining. :
—
See that it is of sufficient length and width also see that the felling and sewing have been properly
;

executed. Fifth :
—Take the coat by the back of the collar with the left hand and hold the lower end
of the lapel with the right hand and be sure the collar is of the right length and proper shape. Also
inspect the pockets and other details. Ascertain whether everything is in proper order, and if so the
garment is finished.

236
 Vest Making
After having marked all points where the pockets are to be placed, as well as the button stand,

proceed to cut inter-lining for vest. Take out ^ inch in armhole, and also 3^ inch at bottom of front

in the interlining. Also insert a V of 3^ inch in shoulder of same. Next proceed to put in pockets and

press the front parts thoroughly into shape and baste under the interlining. Tack the pockets through

the interlining. Next give the front parts a thorough press over. Stretch the shoulders a trifle, also

pressing in the edges all around opening, front and bottom. In putting on stay tape, be sure same is

put on properly by holding it moderately short around opening, front and bottom. Having felled same

down and pressed it thoroughly, seam on facing, press out the seams and trim them and turn over and

baste down edge. Stitch first row of edge before pressing, then stitch second row. Turn in as much as

a seam around armhole and after having finished buttonholes and inside breast pocket, baste under lining.

Be sure it is long and wide enough, and in felling it down to the facings of front as well as in arm-

hole, see that it is done in a neat manner.

Pull out all unnecessary bastings and give front part a thorough press over. Finish up back by

first sewing middle seam, and if straps are used place them in proper position. Join inside and outside

back at bottom. Next place both front parts between the inside and outside back, and after having prop-

erly basted them, sew side seam back of armhole and shoulder. Next turn vest by pulling out both front

parts through the only opening, the neckhole. After having turned vest and smoothed it out, fit the back

to strap at collar. Fell back down neatly and it is ready for press ofif. The press ofif should be done in

the most careful manner, first by pressing over the front parts, then sponging, and finally smoothing the

lining. Mark ofif the places of buttons, sew them on, and, if buckle straps, sew on buckle. Then give

vest a thorough examination and be sure it has been properly completed.

237
 T r o use r Making
A good hanging pair of trousers can be procured only from a tailor who is careful and understands

thoroughly the shaping of a pair of trousers. While it may be true that trouser making does not neces-
sitate so experienced a tailor as coat making, it must be understood that a good trouser maker is a jewel

to a merchant tailoring house, as they are scarce. A good trouser maker must know how to handle the

press iron and produce proper shape. The most important points in trouser making are as follows

See that the front part is held in 34 inch from crotch to 5 in. below. Hold the front part a trifle short

in curve of front. Put pockets in both front and back parts, and be sure they are properly placed and

stitched. Stretch the front part slightly on each side near the bottom. Stretch the back part at knee

on outside edge and press in calf on outside edge. Stretch inside edge from knee up. In joining the

front part to the back part be sure the notches meet at the knee and that the trousers balance properly

and do not twist in any way. Having pressed out the seams and finished placing the canvas in waist

band as well as in button fiy, and lined and turned over the side where buttonhole fly is to be

placed, give the waistband and flys a thorough press over. Next arrange the seams so they meet at the

bottom and place them so that the inside seam is 2 inches to the back of outside seam at crotch.

Press the trouser legs into proper shape. Be sure to shrink the back part at crease from knee up.

Press calf into proper shape. Crease front all the way down and shrink in front at instep near bot-

tom. Next see that buttonhole fly is properly placed. In joining the two parts together sec that they

measure correctly around the waist. The back seam should under all circumstances be sewed by hand.

Next measure ofT the inside length of trousers from the crotch down. Be sure they are up to measure-

ment, and in turning the bottom it is well to soap the crease so as to make it firmer at the bottom. Fell

the turnup down in a neat manner and sew a cloth protector 4 in. long to the bottom of the back part.

Carefully mark ofif and sew on buttons in the proper places on waistband and fly. Next be sure the

lining at top part is properly placed and smooth when felled down. In pressing ofif the trousers be sure

to do all shaping from the wrong side ; also take out creases before turning. Press the bottom thor-

oughly all around. After having turned them, give the top of the trousers, including the pockets and

flys, a thorough press off. Next lay the trousers so that the inside and outside seams meet at the

bottom, and see that inside seam is 2 in. toward the back of outside seam at crotch. Press both sides

and both legs in the same manner and take out crease around bottom. Having thoroughly pressed
over all parts of the trousers, re-measure the length of inside seam, as well as waist, so as to be satisfied

that you have the correct measures, and finish.

zae
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